You might recognize Summer Walker for her smooth and seductive vocals, but the R&B star is not someone who speaks a lot. In truth, the Atlanta artist is pretty reserved. And while many people struggle to draw the 29-year-old out of her quiet nature, Paris Hilton, who sat down with Summer before she dropped her third album, Finally Over It, connected with her over an unexpected shared love of farm animals, especially turtles, goats, and Silkie chickens. But life is far from simple for Summer. As she explains to her fellow mom and musician, trying to manage her home life while keeping up with the demands of her music career is a constant challenge.

SUMMER WALKER: You know what? I might have fucked up. She said talk for 40 minutes but I’m such a bad talker.

PARIS HILTON: [Laughs] 

WALKER: How are you?

HILTON: Good. I just got back to town. It’s so good to be home with the baby and the puppies. Where are you?

WALKER: I’m in Atlanta. You have a brand new baby?

HILTON: My daughter, London, just turned two on 11/11, and then my son, Phoenix, is going to be three in January. And you have three?

WALKER: Yeah. Two boys. They are about to be three. And then I have a 4-year-old daughter.

HILTON: So cute having them around the same age.

WALKER: Yeah. How’s motherhood been for you?

HILTON: I love it. I just feel like my life is finally complete. It’s definitely a lot to balance with everything, but I always put my babies first. I try to bring them with me everywhere.

WALKER: I feel you. I think my life would suck without them. I used to try to bring them everywhere, but trying to bring them on tour was really hard.

HILTON: I bet. Especially with twin boys.

WALKER: So what’s your favorite color?

HILTON: [Laughs] Pink. You?

WALKER: I should have known that. Um, pink. My bathroom and my whole room looks like a young girl’s princess party.

HILTON: Same. [Laughs] I love it. What sign are you?

WALKER: Aries.

HILTON: Nice. I’m an Aquarius.

WALKER: Oh, I love Aquarius. They’re really tactical and smart and calm and intuitive. So what do you do for fun?

HILTON: I work all the time, but if I’m not working, my favorite thing is just to be at home with babies and my pets and cook and do art and chill and write music and just play in the backyard. I love being outdoors. What about you?

WALKER: Literally the same thing. I just don’t have as much time, but I would really, really like to do more staying home, cooking, just being with the kids, painting, decorating the house, shopping, and building stuff outside. I just built a chicken coop.

HILTON: Like, for eggs?

WALKER: Yes. I’m excited to just have chickens for eggs and just chickens that are just cute—like, you know the Silkie chickens?

HILTON: Yes! That’s what my husband and I want. Are they sweet?

WALKER: I mean, I chilled with one for five seconds. We called him Teriyaki and he was nice.

HILTON: [Laughs] The way their little feathers look is so funny. I wanted to get a couple of them because I heard it’s so much healthier to grow your own eggs.

WALKER: Absolutely. I want the whole thing, the goats and all the animals.

HILTON: I used to have a goat, I got it in Vegas. I named it Billy.

WALKER: How was that?

HILTON: It was a little miniature one. It was so cute and sweet but then it got older and grew horns and udders. Then it was trying to butt everyone in the head, like, chasing people.

WALKER: Not so cute anymore.

HILTON: [Laughs] Yeah. We sent it to my ranch. It got a little crazy living in Beverly Hills. I should have got a girl.

WALKER: Yeah, I’m going to look into that. I just got my little greenhouse so I can start gardening. All of this requires me to stay home, so I don’t know what the hell I think I’m about to do.

HILTON: [Laughs] Hopefully you’ll have someone to help you with that because with the amount we both have to travel, it’s hard to keep all of that up.

WALKER: Absolutely. Do you have any fish?

HILTON: I used to have an aquarium but then I moved houses. Do you?

WALKER: No, I think I want a turtle though.

HILTON: They’re cute. I used to have the little ones. I love animals.

WALKER: I heard.

HILTON: I just got a new dog named Iconic Princess Hilton. She’s like a little mini teacup chihuahua. 

WALKER: Iconic Princess Hilton. Period. 

HILTON: [Laughs] Yes.

WALKER: She’s a diva.

HILTON: She’s a little baby icon. By the way, you looked so beautiful at the VMAs in New York.

WALKER: Thank you. So did you. I was like, “Wow, did I just talk to Paris Hilton?”

HILTON: I loved when you came up and said hello. I loved your hat. I loved your outfit. It looked so gorgeous.

WALKER: Thank you. Yeah, it was a fun little time. I love dressing up.

HILTON: Me too. 

WALKER: Speaking of cooking, I was in the store a while ago and I seen your cookware.

HILTON: Were you at Walmart?

WALKER: Maybe. It had the crystals on it. I was like, “Oh my god, I got to get this.”

HILTON: I’ll send you a whole package of stuff. All the new products are so cute.

WALKER: Really? I don’t mind buying it.

HILTON: I would love just to send it to you as a present to say congratulations on the new album.

WALKER: Thank you. It’s Christmas.

HILTON: I know. I cannot believe it’s the end of the year already. It’s so crazy how time has flown so fast.

WALKER: I mean, I think NASA actually said that time did speed up, you can really feel it though.

HILTON: Life is so precious. We have to enjoy every moment.

WALKER: Definitely. So how is your mom?

HILTON: My mom is amazing. She just called me last night. She’s in Vegas for BravoCon with all the other housewives and my sister, and they were just having a time. I love her so much.

WALKER: I love when people are really close with their parents even when they’re grown as hell.

HILTON: Yeah, family is everything. What was your day to day before getting into music and releasing albums? 

WALKER: Honestly, painting and just playing the guitar. Just doing art, basically.

HILTON: When did you start singing?

WALKER: I was maybe 13. I was in the church choir—I have a question for you.

HILTON: Yes.

WALKER: What was the first business you opened?

HILTON: When I lived in the Malibu colony, my sister and I would have a lemonade stand, so I was an entrepreneur at a young age. [Laughs] And then I did my first perfume in 2004 when The Simple Life came out. I just released my 30th fragrance.

WALKER: Congratulations. 30 is crazy.

HILTON: Thank you. It’s called Iconic, I’ll send you that as well—

WALKER: Love. Okay, so we have the dog name, Iconic, and we have a perfume named Iconic. Is anyone else named Iconic?

HILTON: If I have another daughter, I’ll name her Iconic.

WALKER: Period. 

HILTON: [Laughs] Oh, yeah, my new music documentary is called Infinite Icon. So that’s iconic too.

WALKER: Dope. So what’s your favorite type of genre?

HILTON: I love dance, EDM, and pop. 

WALKER: So you want to put me on? Give me your favorite EDM artist.

HILTON: I love Martin Garrix, David Guetta, like when he does remixes, they’re so sick. He’s so talented. Kygo is amazing, and Avicii was incredible. I always loved his music.

WALKER: Is that what inspired you to DJ?

HILTON: I just have loved going to raves and music festivals since I was a teenager and then 15 years ago, I got offered to do this huge music festival in Brazil and close out for JLo, even though I’d never DJed before. My team was like, “It’s a huge offer. Will you do it?” So I was like, “Okay, fine.” So I did it and I loved it so much. And then from there I just started getting offered DJ residencies in Ibiza and Las Vegas and all around the world. 

WALKER: Yeah, why not make money off doing what you love?

HILTON: Yeah, exactly. I was the first one who invented getting paid to party in Vegas, doing club appearances. But then I noticed around that time when I started DJing, that it was more about the DJs, so I hired the best people in the business to come to my house and train me, because it’s very technical. It took a minute to learn everything. Being a girl in that business, you really have to prove yourself. So I just wanted everything to be perfect.

WALKER: I love that. I think when I finally learn how to DJ, I will officially stop singing.

HILTON: Do you ever get nervous when you go on stage?

WALKER: A little. It’s not as bad as it used to be.

HILTON: Same. I used to get so nervous, but I spoke to other artists like Sia and Miley [Cyrus] about it, and they’re like, “It’s normal. You’re only nervous because you care so much.”

WALKER: I feel like that’s something Miley definitely agrees with because she gets on stage and be doing anything. It’s hilarious. 

HILTON: She slays. I love her. Soafter this trilogy, what’s next?

WALKER: Probably funk. I like old school stuff, disco.

HILTON: I love disco. Who are some of the artists that you were inspired by when you were a little girl?

WALKER: Erykah Badu. What about you?

HILTON: I always loved Madonna, Janet Jackson, Britney  [Spears], Alanis Morissette—who else? Paula Abdul. 

WALKER: The pop legends.

HILTON: Yeah. Do you come to L.A. a lot?

WALKER: Yeah, unfortunately.

HILTON: Why?

WALKER: I don’t know. I’m a down South girl, so L.A. is just so different. I always have trouble adapting.

HILTON: Why?

WALKER: Why? You really want me to get into it? [Laughs] I can’t ever seem to find really good food without going to a five star restaurant and spending $500 to $1000 just to eat a meal. And then the traffic is so bad, it’s so crazy. It’s kind of a little bit bougie, but maybe I’m going to the wrong places. And the air has a lot of smog, and I just be like–

HILTON: “Take me home.” [Laughs]

WALKER: Yeah. And I think it’s like that southern hospitality, like people open doors, and they say, “Yes ma’am,” or “No, ma’am.” I think in New York and LA everything’s just moving so fast that people just be like, “Get the fuck out the way.” 

HILTON: [Laughs] Yeah. I love Southern food. 

WALKER: What is your favorite type?

HILTON: Biscuits and gravy–everything just feels so cozy and yummy. I love anything that’s fried. I’m not really a healthy eater. 

WALKER: Life is short. Enjoy yourself.

HILTON: I love Taco Bell.

WALKER: Period. Yeah, I think Atlanta needs to chill with the lemon pepper though. You can’t have lemon pepper with everything.

HILTON: [Laughs] What do you like to do when you relax?

WALKER: When I like to relax, I like to get a massage. I don’t even know how many times I get a massage in a month. That’s my shit. Hopefully one day I can open up a spa because that is my passion and then I can just sit there all day.

HILTON: Do you like facials?

WALKER: Yes, I love any type of red light therapy, any type of healing things you can do.

HILTON: Yeah, I’m obsessed with all that. I’m building a crazy spa at my house right now that has all of the most insane medical devices and facial things that you would see in a real spa or a doctor’s office because I’m obsessed with longevity and wellness and looking hot forever.

WALKER: Speaking of looking hot forever, there’s this machine and it’s super cold, and they put it on your face and do that lymphatic drainage, but it snatches your face and you look like Michael Jackson after. You know what I’m talking about?

HILTON: I have a couple different ones. I have an actual cryotherapy machine called CryoBuilt that you walk in. Four people can fit in it.

WALKER: Oh, wow.

HILTON: But then I also have the face ones. This other new thing they just came out with as well, it’s called the Sherpa CryoBuilt and it’s like a cryo facial that blasts this freezing air on you. And then there’s another one that’s like a metal thing, and it’s like a circle, and it just gets so cold, and it makes your face look snatched. I love it.

WALKER: Yes. I need to learn about some more machines. My facial lady is crazy. It looks like a mad scientist room in there. It’s like 50 machines.

HILTON: Yeah, that’s how I am too. I get three facials a week for three hours each time, and I feel like I’m working because she hooks up all these little sticky things on my body with the electric EMS, so it’s kind of toning the body while doing the facial.

WALKER: You have the thing that does the crunches for you?

HILTON: Yes. The NeurotriS machine. It’s so sick. 

WALKER: See, I do them, but I don’t know what they’re called. 

HILTON: [Laughs] So what was the inspiration for your album cover?

WALKER: Anna Nicole Smith.

HILTON: Yes. I remember when I saw that when you posted on Instagram, I was like, “This is iconic.”

WALKER: Thank you. We love the girls. We love Pamela [Anderson], we love Anna.

HILTON: So amazing that you recreated that.

WALKER: Thank you. Well, don’t be a stranger because I’m trying to come to one of them DJ sets.

HILTON: Oh yes, definitely. And I’ll let you know my next house party is in real Slivington Manor. It’s so much fun.

WALKER: Oh, I love house parties. That’s actually my favorite thing. Particularly ones with no air.

HILTON: No air?

WALKER: Yeah. Like a Jamaican party.

HILTON: What is that?

WALKER: We’ll get into it. [Laughs] But I’m so over the clubs. Everybody wants to stand around and stare at each other.

HILTON: Yeah, it’s not fun. But my house parties are lit.

WALKER: Okay, I’ll be there.

HILTON: Hell yes. I’ll find out when the next one is and I’ll send it to you. Wait, what’s your favorite song on the new album?

WALKER: “Don’t Make Me Do It.”

HILTON: What’s it about?

WALKER: It’s just like, don’t make me break up with you, because I don’t want to, but I’ll do it if I have to.

HILTON: Loves it. Congratulations on everything, honey. And I look forward to seeing you soon. I hope you have an amazing Thanksgiving and Christmas. I’ll send you over the prezzies.

WALKER: Thank you. Blessings to you and the family.

HILTON: You too, honey.

I've sometimes felt as though every piece of music is an exploration of our perception of time. What sparked the idea of focusing on time as the main focus for your new work?

The focus on time in this work emerged quite unconsciously.

What actually happened is that the title came last, after I received an email from John (Benedict ndr) regarding the production timeline. In the middle of that email, those two Latin words appeared, and for me, as an Italian reading them in an English context, they had an almost striking, illuminating effect.

At that point, I went back to the pieces I had written, listening again to how they had been developed and recorded, and also considering the broader time span over which the entire EP had been composed. It became clear to me that Tempo Fugit was the most fitting title to represent the work.

I've been listening to Tangerine Dream's Zeit a lot recently but that album is based on a very specific concept of time, as pioneered in the West bei Parmenides, that time does not, actually, move. What are your own reflections on time?

Time is perhaps the most objective construct that exists in nature, and yet the most paradoxical aspect of it is that it is entirely perceived in a subjective way.

At times, time seems not to pass at all; at other times, it rushes forward, or even feels as if it stops. But this sense of flow, its rhythm, its pace, is not determined by time itself, it is determined by us.

This is precisely why I see it as such a fundamentally objective dimension. It is inescapable, it is constant, and yet our perception transforms something absolutely objective into something deeply subjective.

Time is not just the medium through which music flows, it can also be a musical tool in its own right. How did you work with it for Tempo Fugit?

For this EP, I worked with time in two main ways.

On one hand, there are pieces built around a very clear and explicit temporal reference, a metronome. On the other, there are works that were recorded almost entirely without any fixed time reference. This applies both to the piano pieces and to the electronic ones.

In some tracks, the presence of a grid allows for a very precise perception of construction, almost as if the composition were being built brick by brick. In others, there is a deliberate need to remove any external reference and instead follow what I would describe as an inner sense of time.

These two approaches reflect the way I usually compose, and they are both clearly present and articulated throughout this EP.

Many contemporary composers have tried – or are still trying to make – time transparent by opting for extreme lengths. Your music, however, is quite to the point, on your earlier van Gogh EP even radically so. What is satisfying about concision for you?

I don’t usually approach composition by asking myself how long a piece should be.

When I work on immersive projects, of course, there are specific durations dictated by the storyboard. In those cases, the shorter the piece, the greater the risk of it sounding like a jingle. It becomes more difficult to preserve an emotional depth rather than just leaving behind a catchy motif.

At the same time, I find it very interesting to impose, in a way, constraints of brevity. I have written pieces that last twenty minutes or more, though they are often less suited to streaming platforms, and in some cases they have not even been officially released, as they belong to installations or more experimental contexts.

On the other hand, I also created a collection of one hundred one-minute pieces as part of a creative exercise called “100 days.” The idea was to repeat a creative act every day for one hundred consecutive days. My approach was to sit at the piano, even before having my coffee, and write exactly one minute of music.



Over time, this became a fascinating process. In the beginning, I relied on a timer, constantly checking the clock. But toward the end, I developed an internal sense of that one-minute span. Despite differences in tonality, meter, and tempo, I could almost instinctively feel when to begin and when to end each piece.

That experience taught me that duration is not something I impose from the outside, but something that can be internalized and shaped from within.

I understood that the process on Tempo Fugi was very different from piece to piece, with some finished quickly while others taking a lot of time. What is it about some works, do you feel, that makes them harder to nail down – how would you describe the sensation that something is “done”?

In this case, it was not really about how long it took to finish each piece. The tracks were written at different times, sometimes even years apart.

What happened later, when I listened back to them, was that I felt the need to create a stronger sense of cohesion across the EP. By “cohesion,” I mean introducing elements that could give more consistency to the role each track plays within the overall narrative.

So I revisited older demos that had been sitting in my archive for quite some time, pieces I still considered valid, and approached them almost as a form of rearrangement within the context of the EP. It was not about struggling to complete a piece, but rather about shaping it so that it could fully belong to this specific body of work.

For me, a piece is finished when I feel a strong coherence in the message I want to convey, when every sound has found its place, and when the musical discourse flows naturally and feels complete. It is not something I can define in purely rational terms. It is, above all, a sensation.

Since the process for Tempo Fugit was quite extensive, were there possibly overlaps between tracks composed for this project and the Van Gogh show? If so, how similar do pieces composed at the same time but for different projects tend to be?

There was no overlap. The music for the Van Gogh project we are referring to was written before the pandemic, whereas the material for Tempo Fugit dates back, at most, to about two or three years ago.

If we talk about similarities between pieces, I would distinguish between two different aspects.

From a purely musical perspective, meaning harmony and melody, it is actually more likely for similarities to emerge over time rather than within the same period. When you develop a certain awareness in your musical language, it naturally creates a kind of continuity, almost like a diary of melodic and harmonic ideas that evolves over the years.

On the other hand, pieces written within the same timeframe may resemble each other more from a sound design perspective. For example, if you are exploring a particular instrument, a specific synthesizer, a new effect, or even a certain way of miking the piano, these elements can shape the sonic identity of multiple pieces. Even choices like register or tonality can be influenced by those explorations.

So, if there is a form of resemblance within the same period, it is more likely to emerge from the sound and the tools being used, rather than from the underlying musical writing itself.

The release opens with a piece called “Repetition,” which called to mind a sentence by Ryoko Sekiguchi: “Time doesn’t pass, it returns.” How do you see that yourself – and how do you use repetition and variation in your work?

I see repetition as a beautiful form of communication, where the reiteration of an idea actually allows that idea to emerge more clearly.

The presence of a pattern becomes almost a kind of subtle game with rationality, with perception, with the listener’s intelligence. It invites a process of recognition, almost like solving a riddle.

This is what I find particularly compelling about minimalism. An idea is explored, listened to, gradually exhausted, then transformed, and the cycle begins again.

Since one part of the project seems to have been to use music to capture specific moments in time – how do you see the relationship between the moment and the music created in it? Quite often, sad music gets written in happy times of an artist's life and vice versa, so it seems like a complex relationship.

I agree that it is a complex relationship, and I would even extend it beyond the idea of writing sad music in happy times, or happy music in sad ones, as a way of balancing or compensating.

For me, it also involves the relationship with instruments. My work moves between acoustic instruments, like the piano, and more electronic forms of production, and I often experience this dialogue between emotional states and sound through them.

For instance, I might be drawn to more experimental electronic instruments during a more rational phase, while in a more instinctive or emotional moment I might turn to something structurally more defined, like the piano. In this sense, the contrast or interplay between different emotional states becomes symbiotic with the choice of instruments.

So yes, I would definitely describe this relationship as complex, but also deeply fascinating.

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Luca Longobardi Interview Image (c) the artist
 

“I see repetition as a beautiful form of communication, where the reiteration of an idea actually allows that idea to emerge more clearly.“
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