TS the Solution: Spokane's Bridge-Builder and Dream-Chaser
Photos provided by Devonte Pearson
By Emma Schwichtenberg
Meet Devonte Pearson, better known in Spokane’s music scene as T.S the Solution—a name that embodies his journey and his vision. Born in Long Beach and raised in the Pacific Northwest, Pearson’s story is one of resilience, dreams, and a beat that never quits. He’s not just a hip-hop artist or an audio engineer; he’s a builder of bridges, a catalyst for collaboration, and the mentor he once wished for in his younger days.
Picture this: A studio buzzing with energy, the scent of ambition in the air, and T.S the Solution, wearing his signature “Dreams” hat, ready to craft the next anthem of unity and hustle. His music? It’s storytelling wrapped in smooth R&B vibes and introspective beats, a soundtrack to overcoming obstacles and inviting everyone to the table. Whether he's producing a track, mentoring a young artist, or laying down his own verses, Pearson brings a rare mix of artistry and heart, always looking to elevate the people around him.
T.S the Solution is more than a name—it’s a mission. From his humble beginnings recording on a cheap mic to founding Panoramic Dreams Studio, Pearson has grown into a force of creativity and community. His sound is as real as his story, blending raw emotion with polished production. With a mic in one hand and a dream in the other, T.S the Solution is Spokane’s anthem-maker, bridge-builder, and dream-chaser. And trust us, he’s just getting started.
Converge Music spoke with Pearson about his journey from humble beginnings to becoming a pillar in Spokane's hip-hop scene, the inspirations behind his music, and his passion for community-building through mentorship and outreach.
You’ve lived in so many different places—how have these places shaped your identity and your music?
Well, as you know, the west side of the state is fairly diverse. You get a little bit of everything over there, whereas Central and Eastern Washington—not so much. It’s really a shift in perspective. Living in different places gave me a chance to connect with different people in different ways.
Out here, a lot of people don’t have much experience with Black folks. So, for them, a connection with hip-hop isn’t always there. A lot of folks think hip-hop doesn’t speak to them. We’ve been able to produce records that people in this area can relate to more—whether that means making the music a little friendlier or telling stories they can connect with.
Living in these different places has definitely broadened my perspective, especially when it comes to understanding people who don’t have much experience with hip-hop. It’s been a lesson in meeting people where they are.
You’ve mentioned being inspired by artists like Nipsey Hussle, J. Cole, and Russ. How have they influenced your style and approach to music?
Yeah, Nipsey. Nipsey made it cool to be both ghetto and intelligent. I like to say that here, people mostly view him as a street artist or just a gang member, but he was talking about investing in cryptocurrency, making business moves, and real estate—all inside his music. The more I talk to people, I realize many don’t think that’s possible, you know? He expanded what people thought was possible for a Black man from the hood, someone involved in gang life. He made it cool.
Russ made it cool to be independent. He made it cool to make your own beats, produce yourself, record yourself, and learn to do everything on your own. He gave a blueprint for independence that no one else really did at that scale.
Mick Jenkins is just the coolest, most calm and chill artist I've ever seen. But at the same time, his lyrics have potency. He’s a rapper’s rapper, but he’s not boring. He’s not trying to preach. He has a smooth approach to his music that still gives you energy.
Family seems to play a big role in your life and art. How do your wife, children, and extended family inspire your work?
Yeah, so my wife is a businessperson too. I get to watch her hustle from the ground up, and it inspires me to do the same. Whenever I get tired, I just look over and see her working, and I’m like, "Oh, it’s time to get back to it." I can’t be caught lacking.
For my kids, it’s more about leaving something behind for them—a path that maybe I didn’t have growing up. I don’t want them to start at zero. So, the question is: How can I lay the path down for them so they don’t come out of high school lost? I want them to have access to resources and a path they can follow. They shouldn’t have to reinvent the wheel or stress about the things I had to stress about.
It’s all about leaving behind a legacy for them, so they have a foundation. Not necessarily an easier life, but one where they’re more focused on what they need to concentrate on when it comes to their goals.
Your music blends experimental sounds and intricate wordplay. How do you approach creating such unique and layered tracks?
Yeah, so a lot of it comes from my producer, D.J. Spicy Ketchup. He is very experimental. I don’t know how he does it, but he combines genres in ways I’ve rarely heard. He gives me the opportunity to play around with records using a different approach. There’s no cookie-cutter way of making records with D.J. Spicy Ketchup. He makes me think outside the box with every record he sends me. So, he’s more of the foundation for me when it comes to getting experimental.
You’ve been described as a positive and motivational artist. What messages are most important for you to share through your music?
I think inspiration is key. I aim to motivate those who are lost, like we talked about with the kids. It’s not a one-size-fits-all situation. There are so many ways to achieve a goal, and I try to help by being the person I needed when I was coming up. I ask myself, What do I wish I had known back then? Or even yesterday? Maybe someone out there needs that message now, and if I can provide it in a way they can digest, then I’ve made a difference.
I also try to carry that mindset of being valuable into every space I enter. I think, How can I be of value in this room? If I can bring that same concept into my music, then I’ve succeeded. That’s the goal.
Can you walk us through the process of crafting “Purple in Spokane 2”? How does it build on your previous work?
The process of crafting Purple and Spokane 2 started with addressing themes I wanted to explore in the first project but felt I couldn’t at the time. It was about answering questions I had when I approached the original Purple and Spokane. This project reflects the journey from when I first arrived in Spokane to where I am now—a pillar in my community, someone who has broken down barriers and achieved things local hip-hop artists once thought were impossible. It’s still about motivation and pushing the boundaries of what we can achieve, while challenging the stigma surrounding hip-hop.
This album also incorporates personal experiences I’ve had in Spokane, including being part of the 2% African American population here. There have been moments, looks, and words I’ve encountered, no matter my stature or how the arts community views me. Even with confidence, walking around as one of the few Black men here can sometimes provoke reactions.
These experiences—both the challenges and triumphs—shaped Purple and Spokane 2. It’s a continuation of the journey, reflecting the reality of being both an artist and a Black man in this city, navigating and growing through it all.
What drives your passion for community outreach, and what has been your most rewarding experience so far?
Yeah, it all goes back to being the person I wish I had when I was growing up. For me, as an artist, they always tell you to tap into your inner child, right? That inner child helps me connect with the youth—especially those who dream of turning their passion into a career.
For example, we did a workshop at a school, and we brought our camera with us. One of the students mentioned she wanted to be a filmmaker when she grew up, so we put the camera in her hands. We showed her how to hold a gimbal, turn the camera on and off, zoom in and out, and focus the lens. By the end of it, she was completely invested. Now she’s getting her own equipment, learning about grant systems, and even writing grants to fund her work as an independent filmmaker. Moments like that are the rewards we get—moments that can completely change the trajectory of these kids’ lives.
Not only that, but we also make it a point to speak their language. We stay engaged with them on platforms like Instagram and other spaces they frequent. It’s one thing for someone to drop by a school, give a quick talk, and then disappear. That’s not how we do it. We stay in contact and make ourselves available when these kids have questions about the industry or need guidance.
For me, that’s the biggest reward—knowing we’re making a lasting impact on their lives and futures.
Spokane is not typically seen as a hip-hop hub. How have you navigated this scene, and what potential do you see for hip-hop and arts in the city?
For me, the biggest thing—especially in a place that isn’t traditionally a hub for hip hop—is to enter a room and add value. And I just so happen to be a hip hop artist. If I walk into a room with a camera, operate it, and someone asks who I am, I can say, “I’m Ts, and I’m a hip hop artist.” That creates a connection beyond just being labeled as a rapper in the room.
For example, when I go to schools to promote a hip hop concert, people don’t come out solely for the music—they come out because of who I am as a person. That’s been my approach: adding value in every room I enter. Whether it’s being on a board, working with Spokane Arts, or helping people organize events, I make sure I’m contributing in meaningful ways. Oh, and by the way—I’m a hip hop artist.
It’s never been about forcing myself or pushing my identity as this unstoppable “hip hop force.” It’s more about showing up, being of value, and letting my artistry speak for itself. So far, it’s been working pretty well.
How do you balance your work as an artist, producer, and mentor while also being a father and community advocate?
Honestly, I have no idea how people balance it all. I’ve yet to figure out what that balance looks like. I just wake up every day and try to do my best—try to be as efficient as possible. Maybe it’s about setting boundaries. People around here know that my family comes first, so they tend to hesitate before asking me to go out or do random things because they know it might interfere with family time.
So I guess the best way to put it is: family first. Everything else comes after that. Prioritizing my family has been the key to navigating all the chaos. Don’t get me wrong—it’s still a lot of hectic, crazy days, like today. But keeping that “family first” mindset helps me make time for everything else when I can.
Yeah, I think that’s it: family first, everything else second.
You’ve mentioned experiencing culture shock and needing to gain trust after moving to Spokane. How has this shaped your perspective on community building?
I think it really comes down to understanding what people want. What do they want the story of Spokane to be? Sometimes, that vision might not align with what I want it to be. So it’s about asking, "Okay, what do you want this to look like? How do we make that happen?"
This approach ties directly into community building by focusing on being of value and service. For example, I opened a recording studio in town and brought in interns. There was no other studio in Spokane where aspiring audio engineers could intern and gain hands-on experience. When I graduated from an audio engineering program, there wasn’t a studio where I could intern, which is the typical route for someone pursuing this career. So I decided to create that space.
I started an internship program and had three interns at one point, taking on sessions and collaborating with local artists. Beyond that, I rented out rooms in the building to creatives—videographers, producers, and artists—so they had a dedicated space to work. This effort helped foster a sense of community built around shared standards and opportunities.
It all stemmed from identifying what was missing and what people needed. For example, questions like, "What do we do after school?" or "How do we get educated in this industry?" highlighted the gaps in resources and opportunities. By listening to the community, I was able to fill those gaps, take risks, and go all in to provide something valuable.
Yeah, so TS represents who I am, and "the solution" reflects who I aspire to be. TS is a culmination of different stage names I’ve had, each tied to specific phases of my life. My first stage name was Lil Tey—my dad used to call me Tey for short. Then, as I got older and was running around with my friends, I adopted the name T Savage, which represented a tougher, wilder side of me during that time.
Eventually, after witnessing and experiencing the hardships of that lifestyle—brawls, shootings, and jail time, even if not directly mine—I realized it wasn’t for me. I distanced myself from that life, and that’s when I changed my name to Tey Solo, reflecting a period where I was on my own and disconnected.
Later, I realized being a loner wasn’t working for me either, and I combined T Savage and Tey Solo. That’s how I arrived at TS—it’s the shared initials of both names, symbolizing that all those experiences and emotions are still a part of me. That’s also why there’s just one dot: TS doesn’t stand for "the solution." The solution is who I’m striving to become, but TS is simply me.
What challenges have you faced as an independent artist and producer, and how have you overcome them?
Challenges? I think the biggest one has always been being a one-man band. For a long time, I was doing everything myself. Luckily, I don’t make my own beats anymore, but there was a time when I did it all—I made the beats, recorded myself, mixed, mastered, created the artwork, and figured out how to distribute the music. I handled every aspect of what a label typically does, which has been both a challenge and a roadblock.
One of the hurdles I’ve faced is not having access to the kind of structured guidance I see some upcoming artists receive through accelerated programs or residencies with clear roadmaps. While I’ve been fortunate to be part of residencies, they’ve usually been focused on encouraging artists to disconnect from everything else and just focus on creating art. They haven’t included programs teaching the ins and outs of the industry—what to do, what not to do, or how to network effectively.
So, figuring everything out on my own has been a significant challenge. On top of that, I’m not great at asking for help. Honestly, that’s probably my biggest roadblock—my inability to reach out when I need support. It’s something I’m still working on.
How is it having your wife and kids watch you at your concerts?
Oh, it's emotionally overwhelming. I've definitely shed a tear or two when they're in the crowd. There's a song I have about my son, and that one almost gets me every time. I've also seen my daughter cry in the crowd while I was on stage. It's beautiful, it really is. They get to see their parent go after it, which is the goal, right? I can tell them all day to chase their dreams or goals and make them a reality, but I also get to show them—my wife and I get to show them—that there's hard work behind all of this. So they get to see it all.
What do you hope listeners take away from your music, particularly your upcoming releases?
The first thing that comes to mind is that I usually try to make people cry, especially at shows. One of my goals is to evoke emotion, to get that feeling out of people. For the most part, I want them to experience the idea that everything is happening for you, not against you. The trials, the tribulations, the "bad times" or the dark moments—these are all part of the process to shape you into the person you need to be in order to achieve your goals. I'm very goal-oriented, and I try to be the inspiration that I feel I need at certain points in my life. I want to provide a message that people may not want to hear but might need at a particular moment in their lives.
Are there any new projects, collaborations, or performances on the horizon you’re excited about?
We went down to Santa Fe to record the next project. It could be Purple and Spokane 2, though that's still a working title. As for collaborations, there's a local artist I have a lot of respect for named rosethrow. We have a record coming out soon. Other than that, we might be bringing in a live band to elevate the live experience a bit. That’s all I’ve got off the top of my head. Oh, and we’re also planning some clothing collaborations soon, so that should be fun.
Find Pearson on Instagram @ts_the_solution_.
