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Doc McKinney

Martin "Doc" McKinney (born August 27, 1971) is a Canadian-American and songwriter renowned for his innovative work blending , R&B, and trip-hop elements across multiple genres. Born in and raised in , , McKinney began his musical journey in his adolescence playing guitar in punk-rock and -inspired bands in the area. In 1994, McKinney relocated to , where he launched his professional career and co-formed the influential trip-hop duo with vocalist Jenny-Bea Englishman, releasing the critically acclaimed debut album Breath from Another in 1998. His early production credits expanded to include collaborations with artists such as , , , , and , notably co-producing the track "Slow Ya Roll" on the latter's 2007 album . McKinney achieved widespread recognition through his partnership with producer Illangelo (Carlo Montagnese), co-writing and co-producing key projects for , including five tracks on the 2011 mixtape , the entirety of later that year, and eleven songs on the 2016 album Starboy, for which he served as . These efforts contributed to Starboy's status as a global hit, despite involving over 40 songwriters and various producers like and , with McKinney playing a pivotal role in unifying its sound. His broader discography also features work with , , , , , and Florence + the Machine, solidifying his reputation as a versatile figure in production.

Early life and career beginnings

Upbringing in Minneapolis

Martin "Doc" McKinney was born on August 27, 1971, in and raised primarily in the area of and St. Paul, . Growing up in this vibrant music hub during the , he was immersed in the local indie and alternative scenes, including the influential " effect" that drew fans and artists to the region for its rich R&B and heritage. During his adolescence, McKinney attended a performing arts high school equipped with a , where he honed his musical abilities amid a diverse soundscape. He played guitar in various unnamed punk-rock bands inspired by acts like , The Replacements, and , experiences that developed his technical skills and fostered a strong DIY ethos central to underground music culture. At the same time, he gained exposure to Minneapolis's burgeoning scene, listening to groups like and , which introduced him to rhythmic and sampling techniques that would later inform his genre-blending production style combining elements of , trip-hop, and R&B. In 1994, at age 23, McKinney relocated to after developing an affinity for the city during a visit, driven by a desire for expanded professional opportunities in music. This transition proved pivotal, propelling him toward his first major professional endeavor with the duo .

Formation of Esthero

In 1994, after relocating from to to advance his music career, Doc McKinney was introduced to Jenny-Bea Englishman through mutual contacts in the local scene, leading to the formation of the trip-hop duo . McKinney, drawing on his early experiences with influences in that foreshadowed an experimental edge, partnered with Englishman—who adopted the stage name , a portmanteau of "Esther the Hero"—to create a sound fusing beats with soulful vocals. Their collaboration marked McKinney's professional entry into , where he handled , programming, and alongside Englishman's songwriting and performance. Together, McKinney and Englishman produced and co-wrote their debut album, Breath from Another, released in 1998 on Sony Records' Work imprint. The album showcased McKinney's production skills through intricate layering of vocals and atmospheric sounds, blending rhythms, , and textures to craft an immersive, urban soundscape. Key tracks like "Heaven Sent," with its exotic guitar lines and driving drum patterns, highlighted this fusion and earned praise for elevating trip-hop beyond imitation toward something organic and purposeful. Critics noted the record's style and intent distinguished it in the lounge-pop landscape, mixing pop, , and elements with guitar layers and lite percussion for a brutally untainted vibe. McKinney departed from Esthero around 2000 to focus on independent production work. The split occurred a few years after the duo's rise as a trip-hop act, allowing Englishman to continue under the Esthero moniker as a solo artist. Through this partnership, McKinney honed techniques like vocal layering and atmospheric that would shape his subsequent solo career.

Solo production career

Breakthrough collaborations in the 2000s

In the early , Doc McKinney transitioned from his duo work with to solo production, establishing himself as a Toronto-based collaborator who fused trip-hop influences with emerging R&B and elements. His breakthrough came with executive production and co-writing duties on Res's debut album How I Do (2001, ), where he partnered closely with (later known as ) to craft the project's neo-soul sound. Tracks like "Golden Boys" exemplified this blend, earning critical praise for their innovative rhythms and lyrical depth. McKinney's versatility shone through additional partnerships across genres, including production on Kelis's "So Be It" for the Red Hot + Riot (2002, ), where he contributed alongside Soulfingaz and Steven "Murk" Murray to create a track rooted in Afrobeat-inspired grooves. He also remixed Sting's "Stolen Car" featuring (2004, ), infusing the original with layered electronic textures that highlighted his production finesse. Early influences from his 1990s work with , such as producing "Rise Like the Sun" (1996), informed these efforts, bridging his trip-hop roots to contexts, while collaborations like those with marked his entry into group-oriented R&B projects. By mid-decade, McKinney solidified his reputation with hip-hop productions, notably co-producing "Slow Ya Roll" featuring Chester Bennington on Young Buck's Buck the World (2007, Interscope Records/G-Unit), where he handled programming and instrumentation to deliver a gritty, introspective cut. These works, alongside his ongoing Toronto scene involvement, positioned him as a key figure in blending atmospheric electronics with street-level urban sounds, setting the stage for broader recognition without overshadowing his collaborative ethos.

Work with The Weeknd and 2010s success

Doc McKinney played a central role in shaping 's early career by co-producing the 2011 mixtape alongside (Carlo Montagnese), where he co-wrote and co-produced five of its nine tracks. This project introduced The Weeknd's signature dark R&B aesthetic, characterized by atmospheric synths, heavy sub-bass, and lo-fi vocals processed with effects like and subtle to create a moody, cinematic texture. Iconic tracks such as "" exemplified this style, blending emotional vulnerability with experimental sound design that contrasted soft verses against overdriven choruses. McKinney continued this collaboration on The Weeknd's follow-up mixtape (2011), co-producing all tracks with and further refining the synth-driven, spacey production that defined the artist's sound. Songs like "The Morning" highlighted the duo's approach, incorporating raw recordings and extensive processing to evoke a nocturnal, vibe rooted in 's emerging R&B scene. During this period, McKinney also produced "The Ride" for Drake's album Take Care (2011), co-helming the track with to infuse it with similar atmospheric elements, bolstering McKinney's reputation within the Toronto hip-hop and R&B community. By the mid-2010s, McKinney's partnership with reached new heights as , co-writer, and co-producer on the album Starboy (2016, XO/Republic Records), where he contributed to 11 of its 18 tracks. Key hits including "Starboy" (featuring ), "" (also with ), and ""—which he co-wrote and co-produced—showcased an evolution of the artist's style, integrating live guitars, MIDI programming, and modern pop-R&B elements while maintaining the core atmospheric depth. The album achieved massive commercial success, certified four-times platinum in the United States by the RIAA as of April 2022 and surpassing 23.6 million equivalent album units globally as of September 2025.)

Later projects and influence

Post-2016 productions

Following the success of The Weeknd's 2016 album Starboy, which McKinney co-produced, he diversified his production work into film soundtracks and collaborations with emerging artists. McKinney contributed to the Black Panther soundtrack for the 2018 Marvel film, co-producing the track "Pray for Me" performed by The Weeknd and Kendrick Lamar alongside Frank Dukes. This collaboration marked an adaptation of his signature atmospheric R&B production to a cinematic context, blending dark synths with hip-hop elements to fit the film's Wakandan themes. In 2019, the song "The Morning," co-written and originally produced by McKinney for The Weeknd's 2011 mixtape House of Balloons, was featured in the Netflix film Uncut Gems, underscoring the movie's tense, nocturnal energy with moody, introspective beats. His involvement helped integrate contemporary R&B into the thriller's high-stakes narrative, drawing on his established sound from prior Weeknd projects. McKinney produced several tracks on JoJo's 2020 album good to know (Warner Records), including "So Bad" with Dylan Wiggins, emphasizing minimalist beats and emotional vulnerability that aligned with the album's role in the mid-2010s R&B revival. The project, recorded partly in Toronto, showcased McKinney's ability to craft silky, spacey arrangements that highlighted JoJo's vocal range amid a resurgence of introspective R&B sounds. Tracks like "Man" further exemplified this, blending personal storytelling with subtle electronic textures to contribute to the genre's renewed focus on authenticity. For Alessia Cara's 2021 EP In the Meantime (Def Jam), McKinney co-produced "Somebody Else" with Sir Dylan, creating a track that explored relational dynamics through layered synths and intimate production. This collaboration fit into Cara's evolving pop-R&B sound, with McKinney's contributions adding depth to the EP's reflective tone. McKinney's influence extended to remixes and covers, notably as co-writer on London Music Works' orchestral rendition of (originally by ) for the Westworld soundtrack in 2023, reimagining the track's brooding essence for the series' dystopian atmosphere.

Musical style and industry impact

Doc McKinney's production style is characterized by a fusion of trip-hop influences from his early work with , incorporating dark R&B and elements through the use of atmospheric synthesizers, reverb-saturated vocals, and rhythms infused with energy. This approach draws on vintage gear like Prophet synthesizers and Wurlitzer keyboards, often initiated via guitar-based programming with tools such as the Fishman to create organic, layered soundscapes without heavy reliance on traditional keyboard inputs. His techniques emphasize genre-defying blends, merging , , and alternative textures, as seen in his avoidance of rigid categorization to prioritize innovative sonic experimentation. McKinney's influence extends deeply into Toronto's music scene, where he has mentored emerging producers such as , fostering a of talent that shaped the city's R&B in the early . By co-producing key early projects, he helped define the "XO sound"—a cinematic, moody aesthetic blending nontraditional R&B structures with atmospheric production—that became synonymous with The Weeknd's breakthrough and influenced artists like . This mentorship and collaborative ecosystem elevated from a regional hub to a global force in urban music, with McKinney's studio serving as a creative nexus for boutique analog experimentation. Transitioning from duo-based production in his era to a solo career, McKinney has honed a of patient, backseat that prioritizes the artist's over personal dominance, informed by more than 25 years in the industry. This evolution allows for fluid, hands-on sessions using DAWs like and , where he facilitates contributions from diverse collaborators while maintaining a focus on authentic, high-quality output. His approach underscores a commitment to elevating artistic intent, as he has noted that truly impactful artists already possess a clear that he refines rather than imposes. McKinney's broader impact on the contemporary lies in bridging trip-hop's introspective, atmospheric foundations to modern pop-R&B, introducing reverb-heavy and synth-driven production that expanded the genre's emotional and sonic palette. This fusion has been credited with revitalizing R&B's global appeal, influencing a shift toward more experimental, genre-blurring forms in mainstream music. Tracks like "" serve as exemplars of this stylistic bridge, highlighting his role in pioneering moody, immersive .

Personal life

Residence and family

Born in and raised in Minneapolis, , Doc McKinney relocated to in 1994, establishing it as his long-term residence. This move marked a significant shift from his American upbringing to immersion in Canada's vibrant music scene, fostering his dual Canadian-American identity shaped by cross-border influences. McKinney has maintained a low public profile regarding his personal circumstances, prioritizing stability amid his professional commitments in . Details about McKinney's family life remain largely private, with no confirmed information on marriages available in public records. He is a father to two children—a son and a daughter—whose mother is a former journalist. This aspect of his life underscores his preference for discretion, allowing him to balance family responsibilities with his role as a producer while residing in , which has also served as a hub for career collaborations.

Philanthropic efforts

Doc McKinney has actively supported various charitable causes through his production work, particularly in the music industry. In 2004, he co-produced the benefit single "Life" featuring , , , and Graph Nobel, with all proceeds directed to War Child Canada, an organization aiding children affected by war. The track, released as part of the "Keep The Beat 2004" campaign, highlighted his early commitment to humanitarian efforts via donated production services. McKinney's philanthropy extended to addressing and exploitation of young women. In 2009, he co-produced a re-recorded version of O'Connor's "This Is to Mother You," featuring and Martha Brooks, specifically to benefit GEMS (Girls Educational and Mentoring Services), a nonprofit empowering girls aged 12-21 who have survived commercial sexual exploitation. All download proceeds from the single, released in December 2009, went directly to GEMS to fund survivor services, awareness campaigns, and prevention programs. Through these efforts, McKinney has channeled music industry resources toward youth-focused programs, leveraging his professional network to amplify charitable impact.

Awards and discography

Grammy Awards and nominations

Doc McKinney earned his sole Grammy Award at the 60th Annual Grammy Awards held on January 28, 2018, at in . He shared the win for Best Urban Contemporary Album with producers , , and for their work on 's third studio album Starboy (2016), which featured McKinney's contributions to key tracks and overall sonic direction. This accolade recognized the album's innovative fusion of R&B, , and electronic influences, cementing McKinney's reputation as a architect of 's breakthrough mainstream sound during the mid-2010s. The victory marked a career pinnacle for McKinney, who co-produced several standout songs on Starboy, including the title track and "I Feel It Coming," alongside his long-standing collaboration with that dated back to the artist's early mixtapes. Despite extensive credits on subsequent projects, McKinney has not received additional Grammy nominations as of the 2025 awards cycle.

Selected production credits

Doc McKinney served as the primary producer for Esthero's debut Breath from Another (1998), handling instrumentation, programming, and production across all tracks. He co-produced multiple tracks on Res's album How I Do (2001), including the title track, contributing to its neo-soul and sound. McKinney co-produced The Weeknd's House of Balloons (2011) alongside Illangelo, shaping its dark, atmospheric R&B aesthetic on tracks like "House of Balloons / Glass Table Girls." He similarly co-produced the entirety of The Weeknd's Thursday (2011), collaborating closely with Illangelo to refine the project's cinematic production elements. As executive producer on The Weeknd's Starboy (2016), McKinney oversaw eleven tracks, including co-production and co-writing credits, with the album earning a Grammy Award for Best Urban Contemporary Album in 2018. McKinney produced two tracks on JoJo's album (2020), such as "So Bad" and "Think About You," blending introspective R&B with electronic influences during sessions in . He contributed as a co-writer to Maggie Rogers's single "Love You for a Long Time" (2019), enhancing its uplifting vibe. Among other recent works, McKinney co-produced Alessia Cara's "Somebody Else" (2021) from In the Meantime, incorporating disco-infused beats. His contributions to the Black Panther soundtrack (2018) include co-production on "Pray for Me" by and .

References

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