5 Best Moments From Megan Thee Stallion’s Twerk-Fueled Lollapalooza 2024 Headlining Set

With Lollapalooza 2024 marking the final stop on the Hot Girl Summer tour, Megan Thee Stallion closed out the first day of the festival with an electrifying performance — and a timely message — on Thursday night (Aug. 1). 

After performing at Vice President Kamala Harris’ first presidential campaign rally in Atlanta earlier this week, Megan continued a stellar week by headlining Lollapalooza on Thursday night, three years after her first main stage appearance at the festival and a few weeks after replacing Tyler, The Creator at the top of the Lolla bill. The combination of political statements and twerk-ready hits made sense in the context of her high-wattage show, and went over well with festival-goers, who were equally in awe of her candid stances and catalog of rapid-fire records.

Decked out in a pink sequence jumpsuit and cowboy boots, Meg started her hour-long set with the venomous “Hiss” before transitioning to her more salacious club anthems. The rap star went on to play records like “Thot S**t” and “Megan Piano,” encouraging the crowd to join her as she twerked in the evening drizzle. And with a black towel in hand and a roaring crowd on its feet, she rolled through fan-favorite bangers like “WAP” and “Wanna Be.” “Tonight, I’m not giving y’all my lightest twerk,” she said. “I’m giving y’all my hardest twerk in the motherf–king rain, because I want the hotties to have a good-ass time.” 

Despite the weather and the wrapping-up of her summer tour, Meg made her return to Chicago worth fans’ while. She even brought a special hometown guest to the stage, and played a new viral hit in front of thousands.

Here are five of the best moments from the Meg Thee Stallion’s headlining Lollapalooza performance. 

The ‘Hotties for Harris’ Campaign

Days after her campaign rally appearance, the “Houston Hottie” paused her Lolla show to double down on her support of the presumptive Democratic nominee. “Let me pop my s**t real quick, because [people] were fake mad that I was popping it for Kamala,” Megan said to the crowd at Grant Park’s T-Mobile stage. “I don’t think they heard what she said. Kamala said she wants a ceasefire. Kamala said she supports women’s rights. And she said she’s tired of those high-ass gas prices … It’s ‘Hotties for Harris,’ goddammit!” There were no audible rejections from the audience — the campaign is in full effect. 

The Twerk Encouragement

It isn’t enough for Megan to simply twerk on her own — she’s a masterful hype woman who encourages her backup dancers to shine during brief intermissions in her set. She even had one of her dancers shine with a solo moment while she performed “Gift & A Curse.” The same courtesy was given to the crowd, as fans broke out into twerk circles and hyped each other up from across the park.

The Newest Hit

In short time, Megan has established herself as one of the biggest rappers in hip-hop, as her catalog of trap-infused hits, sharp-tongued diss records and femme-powered jams have elevated her to superstardom. The international appeal of the viral hit “Mamushi,” featuring Tokyo’s Yuki Chiba and given a TikTok dance, has broadened her horizons as well, and went off like a firecracker during her Thursday night set. But overall, her Lallapooloza performance was evidence of her ascension and rightful place as a headliner. 

The Special Guest

While GloRilla was sadly absent from Meg’s Lollapalooza performance after a rumored appearance, the Houston-born rapper invited a familiar face for Chicago sports fans to the stage. The special guest was WNBA all-star forward Angel Reese, who danced with Megan as she rapped “Where Them Girls At.” The Chicago Sky star mostly stood toward the back half of the stage, but she and Meg shared several videos and hugs during the must-see moment. 

The Day-One Hotties

After playing songs from her recent album Megan and Traumazine, Megan traveled back in time, and fully morphed into her alter ego Tina Snow, for stomping hits like “Hot Girl” and night club anthems like “Big Ole Freak.” And while her newly initiated hotties were welcomed with open arms, Megan acknowledged the festival-goers who supported her as she ascended the rap music ladder. 

– Billboard

5 Best Moments From Chappell Roan’s Jam-Packed Set at Lollapalooza 2024

Even with the unforgiving heat looming over the crowd during the opening afternoon at Lollapalooza 2024, seemingly every fan in attendance left their pockets of summer shade on Thursday (Aug. 1) for a clear view of Chappell Roan’s entrance. The vertically challenged climbed their partners’ shoulders; others slipped through gaps in the tightly packed parkway in Chicago’s Grant Park. 

As the clock struck 5 p.m., the exploding pop star rose onto the T-Mobile Stage, and was welcomed with cheers that stretched across the southern section of Grant Park. Roan came out to the anthem “Femininomenon” while dressed in a cotton-candy-colored outfit with a luchador-style mask covering her face, but once she dove into dance-pop tunes like “Naked in Manhattan” and “Red Wine Supernova,” she unveiled the face that has quickly become a mainstream fixture, and let her fiery amber hair loose. She swooned the crowd with her theatrical moves and striking vocal runs, as flashing lights and fireworks helped turn Lollapalooza into a 1980s-style music video. 

Roan’s command of an audience as large as Lolla’s shouldn’t be a surprise. The self-proclaimed “Midwest Princess” has sprinkled her musical fairy dust across continental lines on her global tour, and her enchanting stage presence was on full display during the opening day of the festival. Roan transitioned from sultry tunes like “After Midnight” to campy dance jams like “Good Luck, Babe!,” giving license to sequenced fist pumps, dance moves and percussive chants among the crowd. “Thank you for having me Lolla!” she screamed — although on Thursday afternoon, Lolla was no doubt thankful to have the ascendant star on its main stage.

Here are five of the best moments from Roan’s Lollapalooza set. 

The Slower Moments

While the sonic potpourri of Roan’s 2000s-inspired pop records garnered the biggest receptions at Lollapalooza, Roan fell to her knees to deliver tales of past hookups on “Casual” and the emotionally rich heartbreaker “Subway.” These setlist entries brought balance to Roan’s high-powered performance, which prompted shared hugs and kisses among festival-goers. 

The Vocal Shapeshifting

Roan has amassed a sprawling fan base for several reasons, but those not paying close attention may not expect the breadth of her vocal ability. At Lollapalooza, Roan continued to prove she’s a musical acrobat who can seamlessly leap from whimsical pop tunes to roaring ballads on a dime. Her vocal power allows for such versatility — and part of the fun of attending a Chappell Roan show is watching the audience try to match it, howling and bellowing in charming attempts to match her flowing harmonics.  

The Outfit

Roan, whose aesthetic is often influenced by glittery drag style, chose to go with a (relatively) muted outfit choice at Lollapalooza: the artist dressed in a wrestling-inspired short-sleeved bodysuit, with colors bursting in blue and pink highlights, lots of fringe and a silver star belt. Despite the 90-degree heat, she sported a luchador mask — but only for a few minutes. Once she settled on stage, Roan turned to the crowd to let her strawberry-colored hair and silver face paint grace the sun. 

The Welcomed Theatrics

Long before she rose to pop stardom, Roan was a theater kid whose Hollywood dreams first bloomed in her hometown of Springfield, Mo. Her Lollapalooza set was full of flashes of her dramatic training, as she twirled on stage, belted out ballads with Broadway fervor and often grabbed her chest to further emphasize the emotional notes. Then she made a full split halfway through her set, leading to some of the loudest audience roars of the day.

The Global Fandom

While she’s crowned the “Midwest Princess,” Chappell Roan’s fandom stretches far and wide, beyond the confines of Lollapalooza. Festival-goers ventured from around the world to attend Chicago’s annual music festival, and shots of the crowd size started going viral before the set had concluded. Roan’s mountainous vocals and crowd-pleasing tunes forged one of the better performances on day one, and with her global success in full bloom, it’s safe to say Roan has graduated from “Midwest Princess” to international star.

– Billboard

Jill Scott is ‘really tickled’ to be featured in a new mural at her alma mater, Girls’ High

After years of fiercely repping her hometown, Philly’s very own legendary vocalist Jill Scott was honored at her old stomping grounds.

On Thursday, Mural Arts unveiled a mural of Scott during a 175th-year celebration of her alma mater, Philadelphia High School for Girls. “I want to live in the moment,” Scott said in a Zoom interview before the ceremony. “I’m very touched and thrilled. I cannot believe this.”

The mural is designed by artist Patrick Dougher and features Scott coronating young girls with replicas of the same golden crown she wears on her head. The Latin phrase “vincit qui se vincit” comes out in a wave from under Scott’s halo-like Afro. It translates to “She/He conquers who conquers herself/himself.”

The 900-square-foot mural, titled Luminaries: The Coronation, is located on the facade of Girls’ High facing Broad Street. Jane Golden, executive director of Mural Arts, said its vibrance is a reflection of the impact Scott has made as an ambassador for Girls’ High and the Philly arts.

“Her artistry, resilience, and dedication to uplifting our community epitomize the spirit of Girls’ High,” Golden said in a statement. Through the mural, she said, “we honor not only Ms. Scott but also the countless women who have graced the halls, leaving an indelible mark on our world.”

Before the ceremony, “Jilly from Philly” chatted with The Inquirer about her fondest memories at Girls’ High, the hidden powers of “Schuylkill ,” — otherwise known as Philly tap water — and her headlining performance at the Roots Picnic on Saturday. A deep feeling of gratitude shined through her smile. “It’s hard to explain how great this is,” she said. “I am really tickled. ”

The interview has been lightly edited for length and clarity.

How does it feel to have this honor?

It’s really crazy. Wow, I know I should be ready for these kinds of questions because I figured you would ask me how it feels, but it’s kind of surreal. I had such a difficult time during high school. I missed 48 days of school my senior year, primarily because I couldn’t get to school. I didn’t have money, tokens, or anything, and I worked at night. It was very hard. I did not pass math, which was devastating. It meant I couldn’t walk and had to go to summer school. But that’s the reason this is so surreal, it was such a challenging part of my life, but an amazing time as well.

This is the kind of stuff that’s in a lot of fairy tales. I would have never imagined that my likeness or any part of me would be on the side of my dang high school. Never, not one day.

How was Girls’ High?

Girls’ High was beautiful. We had perfect pink marble hallways, and walking down those hallways felt like triumph every day. There were so many brilliant young women, and so many friends I have till this day. It was an extraordinary time for me, I just wish I didn’t have the troubles I had at the time.

What do you remember the most from those days? Any particular teachers?

I have a lot of fond memories, the only problem was we didn’t have any money. But yes, I had Mr. William Murphy, the leader of Treble Clef. You had to audition to be in the Treble Clef Choir, and it taught us Latin, German, and Italian songs. He played amazing music, and took us to the Academy of Music. That’s where I first heard and saw Kathleen Battle. I never heard someone sing so lovely and smile so pretty at the same time.

You grew up here. How did the city make you who you are?

People ask me the question all the time: What makes Philadelphia vocalists? I think it’s the Schuylkill punch, and the fact most of the musicians are coming out of church. I think it’s institutions like the Philadelphia High School for the Creative and Performing Arts, and Treble Clef at Girls’ High. I think all these accumulate to make Philly’s musicians, vocalists, and artists great.

And what about the city’s murals?

I grew up looking at murals my whole life, on every other corner. Murals have been an inspiration just by seeing all those beautiful colors. There was a lot going on in the city of Philadelphia. [But] the murals were uplifting, with beautiful quotes and the faces of people we admired. I’ve always appreciated that.

And the Philly arts community? Does its future excite you?

Of course. I think I’ve touched pretty much every portion of it in the course of my lifetime. All the wonderful time I’ve had performing live, whether it was poetry or singing somewhere. There were so many places, and some of them aren’t here anymore, but they are integral to everything that I am and everything that I’ve done. And oh, the block parties. I used to go to so many block parties. All those things made me who I am.

Can we get a glimpse into your Roots Picnic performance on Saturday? Or do you want to keep everything secret?

I’ll keep it a secret. Just know that I’m thrilled and very excited. I had a wonderful time performing at the Met for the 23rd anniversary of Who is Jill Scott? Words and Sounds Vol. 1 last year. I loved that people walked out singing in the streets. It felt so good.

– The Philadelphia Inquirer

A wholesome rap battle promises cash — and takes a stand against gun violence

In the grueling battle against gun violence in Philadelphia, community leader and activist Sajda “Purple” Blackwell has served on the front lines.

At age 7, she lost her brother, Ronnie Easley, who died of a gunshot wound.

In January 2023, Sideic Robinson, the son of her husband, Thomas Blackwell VI, was fatally shot in Rochester, N.Y., while leaving his job at a local Burger King.

As the owner and operator of the online radio station PQRADIO1, Blackwell realized she had a role to play in perpetuating a trigger-happy culture. Her station played music that glorified street violence. And as death tolls rose, she swore only to promote “positive music on purpose.”

While she still plays urban contemporary artists like Lil Baby, Megan Thee Stallion, and Meek Mill, Blackwell doesn’t play or promote records that glorify gun violence.

Adding to her efforts at reprogramming the minds of local listeners, Blackwell also started the West Philly-based nonprofit Blackwell Culture Alliance Inc., which looks to “build stronger communities, neighborhoods, and economies through educating, donating, and volunteering.” It organizes food distribution drives and other outreach programs.

One such program is the open mic series How Dope Are You?, which Blackwell hopes will counteract some of the pervasive pop culture messages she finds so harmful. .

Since 2021, the monthly rap battle has encouraged local rappers to spread anti-gun violence messages through their music. The competition awards Philly rappers, poets, and spoken word artists with a $1,000 prize, but there are two rules: they can’t use curse words and have to firmly address the problem of gun violence.

“We became very intentional on promoting nonviolent music, and to challenge our young people to make the music they talk about, what they want to hear, and to make it hot. People have really begun to step up to the challenge,” Blackwell said.

Inside West Philly’s Holy Apostles & the Mediator Episcopal Church, the rap battle starts with gun violence survivors and their families locking arms in a “healing circle.” After Blackwell welcomes everyone, the attendees share their experiences.

“Whether we have 50 or 100 people, we’re creating a space for nonviolent music,” Blackwell said leading up to a recent showcase. “And if you can make a song about not killing anybody, then you can come get this ‘shmoney.’”

On May 22, South Philly artist Michael “Mike J” Johnson and nearly a dozen other creators exchanged stories and caring words before setting the stage ablaze.

“It just felt like a real encouraging space,” Johnson said. “Nobody was out for each other. The dynamic was genuine, wholesome, and very supportive.”

Johnson, who was inspired to rap after hearing Nas’ “I Gave You Power” at 8 years old, admits his music isn’t always the most uplifting. Days before the competition, he worked tirelessly to craft a song he felt was up to Blackwell’s standards.

He thought about the victims and perpetrators of gun violence, and how both their lives can seemingly end with the pulling of a trigger. He came up with the song “Let’s Rise Up,” which incited a seismic chant from the crowd in attendance.

“Bro, rise up. Sis, rise up,” the audience screamed. “Bro, rise up. Sis, rise up.”

By the end, Johnson and the other performers were awarded portions of the $1,000 prize. The program — and the camaraderie that was formed among the participants — made it feel more like a family gathering than a competition. There were no losers, Johnson said.

“It’s not just West [Philly],” said Reika Safiyya, a singer-songwriter, teacher, and sustainable clothing designer based in West Philly. “When you’re in Philly long enough, you can see the different dynamics. It’s a city full of art and talent, but the resources and support isn’t always there for people to thrive and live healthy lives. What Blackwell is doing is very necessary.”

Along with reducing gun violence, Blackwell said the open mic shows local artists that positive music can still fuel success. “It perpetuates the idea that the music is not corny, and that there are artists out there who can still survive in the rap game that’s not killing anybody,” she said.

What started as a five-person crowd three years ago has bloomed into a more recognizable open-mic series and family outing with catered food and a fresh lineup of local talent.

There’s been a notable drop in gun violence in recent years. According to the Office of the Controller, there was a 20% decrease in total homicides from 2022 to 2023. And Blackwell likes to think the Blackwell Cultural Alliance played a part in the decline.

Having cared for patients impacted by gun violence, Philly pediatrician and How Dope Are You? supporter Vivek Ashok said Blackwell has inspired him to take a more active approach to advocacy. For any program to be sustainable, he said, it requires a healthy investment from community members and elected officials.

“A lot of these community initiatives, specifically run by Black and brown folks, are not adequately funded,” he said. “I think highlighting the resilience and beauty of Philly youth is critical to understanding this group. And How Dope Are You? does that.”

As the program evolves, Blackwell’s goal is to foster more relationships with local organizations and brands. She hopes the city will fully get behind her campaign for nonviolent music. “We’re here to change people’s outlook on what music can be, and for the music industry to follow suit,” she said. “This effort is boundless. There’s no limit.”

– The Philadelphia Inquirer

Charlamagne tha God is done with the small talk

For millions of morning radio show listeners, Charlamagne tha God has evolved into one of the leading voices in pop culture.

From his days at Z93 Jamz in Charleston, S.C. to his current post as the host of Power 105.1′s The Breakfast Club, the former morning show host of Philly’s 100.3 the Beat says he has lived by an unspoken oath: to think and speak freely.

His social critiques, polarizing political stances, and unpredictable interview moments have stunned listeners, led to national headlines, and turned hour-long interviews into bite-sized viral clips.

His infamously comedic and often vicious interviews with artists like Lil Mama, Kanye West, and Post Malone have generated millions of YouTube views, and his recent observations of President Donald Trump and President Joe Biden’s electoral campaigns have taken him to The Daily Show

In his third book, Get Honest Or Die Lying: Why Small Talk Sucks, he is asking America to stop lying to itself.

In the book, set to release on May 21, Charlamagne writes from the belief that the world’s imbalances stem from a lack of meaningful conversation among people, be it our neighbors or politicians. This, he says, leads to the oversaturation of “small talk.”

“I’m not talking about the pointless chitchat people try to make when you’re at the airport or randomly standing in line somewhere. I’m talking about the small conversations people have on social media every day,” Charlamagne said. “You know it’s micro because it only lasts 12 hours. This book is a way to open up conversation with people.”

The Inquirer talked to the self-proclaimed “prince of pissing people off” about the dangers of unimaginative conversations, the balance between righteousness and “ratchetness,” and hip-hop’s role in freeing America’s intellectual chains ahead of his book release and tour stop at Green Street Friends School on May 23.

The interview has been lightly edited for length and clarity

This is another big achievement for you. How do you feel?

I feel good. It was an effortless process because what I decided to write about in this book is where my mind has been for the past few years. I just think we’re in a society where everybody likes to focus on the micros instead of the macros. And because we spend so much time talking about the micros, we have so much small talk in the world.

Is this a conclusion you arrived at recently?

I’ve never liked small talk. I’ve always wanted to have big macro conversations and discuss big ideas, even when the conversation starts with individuals. I don’t want to discuss people, I want to discuss the ideas these people are presenting. Even on the radio, you may [hear] a headline about something, but I want to talk about the broader deep dive into what it is. Like the Kendrick Lamar and Drake rap beef, I don’t just want to talk about the beef. Let’s talk about the psychological aspect of all this. Let’s talk about where this will lead people or the culture of hip-hop.

Do you think your voice is big enough to steer these kinds of conversations?

I don’t sit around thinking, ‘Oh, my voice is big.’ I just think we need to start having more macro conversations. We have to start discussing things that benefit us and help us grow as humans. I’ve been like that my whole life. I always say I’m the perfect balance between ‘ratchetness’ and righteousness, or at least that’s what I strive to be. There’s never been a time in my radio career, no matter where I’ve worked, that I didn’t have voices we could learn from on my platform. From spiritual leaders to political leaders, it doesn’t matter. I’ve always had people you could learn from.

What about people who say you’re incapable of leading ‘macro’ conversations?

That’s their opinion, and they’re entitled to their opinion. You see that a lot with the conversations we’ve been having in politics [on The Breakfast Club]. This ain’t new. The first political guest to come on The Breakfast Club was Bakari Sellers in 2014. He was running for lieutenant governor of South Carolina, so he came on to talk about his campaign. From that moment on, the ball was rolling and everyone and their mother was coming on.

When it was 2020, all the Democratic candidates were coming through. Even back then, people said, ‘Charlamagne you went too hard on Kamala Harris,’ and ‘Charlamagne you went too hard on President Biden.’ The flip side of that: ‘Charlamagne you’re too easy on Democrats. Y’all are a bunch of Democratic shills and never ask Democrats the hard questions.’

Fast forward to 2024, when it’s a large Republican field and those candidates decide they want to come up to The Breakfast Club. They’re choosing to come to our platform, and all of a sudden people have a problem with us talking about politics. You’re damned if you do, damned if you don’t. And to be honest, neither one bothers me because it’s all a part of the larger conversation. It’s not going to stop me from having the conversations I want to have.

Moving on to hip-hop, is the genre and culture ready to have these ‘macro’ conversations?

Of course, and that’s why I wrote this book. One aspect of small talk is that we confine ourselves to these small echo chambers for no reason. Hip-hop has always been able to talk about these things. We used to say N.W.A was the CNN of the Hood. So the notion that hip-hop is not mature enough to listen. Says who? I guess that’s why it’s so easy for people to tell us to shut up and do what they say regarding politics. It’s probably so easy simply because maybe some of us aren’t sophisticated enough to know what’s going on politically. But I think that’s a bald-faced lie.

Was there a topic or chapter you second-guessed writing about?

Hell no. This book is about big conversations and focusing on the macros. I want [readers] to have conversations about the things I’m talking about. I’m not saying I’m right or the end all be all. I’m just sharing my experiences with the readers, and I’m hoping they get something from it.

I know your time in Philly was short, but what are some of your fondest memories of the city?

I love Philly because it’s one of the realest places on the planet. Almost everyone you meet will tell you the truth. The brothers and sisters in Philly are very honest, and I think that’s why they appreciated me while I was there. And any time I come back to Philly, it’s always love. I don’t take any of the support for granted.

At last year’s Roots Picnic, you named your top five Philly MCs. Who fills out the ranking?

I have to be objective here, so I won’t give a personal top five. I have to put Black Thought at No. 1 and Beanie Sigel at No. 2. You have to put the Fresh Prince at No. 3 — not Will Smith, the Fresh Prince. Then I’ll put Freeway at No. 4. My No. 5 coming out of Philly all-time, I want to salute the OG Schoolly D, but I feel like I got to put Young Chris at No. 5. He didn’t get his just due but Chris was very nice, and if you’re so nice that you’re influencing people like Jay-Z, that’s big.

– The Philadelphia Inquirer

N.Y. State of Mind: Nas’ ‘Illmatic’ at 30

Few hip-hop albums transcend eras or withstand the disposal of one sound for another. But one body of work that’s weathered the ever-evolving terrain is Nas’ landmark debut, Illmatic.

Opening to the cascading sounds of subway train cars, screeching from one New York City rail line to the next, Illmatic draws listeners into the world of the chipped-tooth, Queens-bred MC. 

Anticipation for Nas’ debut was high. At age 20, he was three years removed from his legendary verse on the Main Source posse-cut “Live at the Barbeque,” which attracted label execs wanting to ink a deal with the promising lyricist. 

Through a connection with former 3rd Bass rapper MC Search, Sony Music’s Columbia Records managed to strike a deal with Nas in 1992. And on April 19, 1994, the poetic rhymer was crowned a prophetic child of hip-hop, one in a position to restore New York’s musical dominance.

With Dr. Dre’s The Chronic and Snoop Dogg’s 1993 classic, Doggystyle, the hip-hop mecca fell to the background for the first time. The G-funk sound was the sound of the era, and alternative acts like Souls of Mischief and the Pharcyde were strengthening the West Coast’s grip. 

New York needed a new legion of artists to spark its reemergence, and Nas’ Illmatic swung the momentum back to the East Coast. It also restored the reputation of Queensbridge, home of the fearsome Juice Crew (featuring such pioneers as MC Shan and Marley Marl), who fell to South Bronx’s KRS-One and Boogie Down Productions during the legendary “Bridge Wars” in the late ‘80s. 

Nas, inspired by the classic battle, was driven to enliven the housing project that shaped him. “I had to represent,” Nas said in a 2019 interview with Drink Champs. “The pressure was on the borough and my project. And just getting into the game, you had to have something to say, so I definitely had to push the pen hard because, if not, it would’ve never [flown].”

The 10-song LP was a memoir that chronicled Nas’ days on hardened street corners, witnessing the perils of drug abuse and street violence from a bird’s eye view. Nas’ vocal command, silk-smooth delivery, and the potency of his poetic rhymes elevated each track. 

The timeless boom-bap soundscape laid the ground for Nas, who unloaded vibrant tales of street life, declarations of lyrical supremacy, and prophecies on “It Ain’t Hard to Tell,” “Represent,” and the nostalgia-fueled “Memory Lane (Sittin’ in da Park).”

“One Love” is a soul-stirring tale of incarceration, and “Life’s a Bitch” is a celebration of life through the growing pains of adolescence. “N.Y. State of Mind” quickly became a Tri-State anthem. Nas said in the 2014 documentary Time Is Illmatic that it was strategically placed near the top of the tracklist to “bring [listeners] to hell and back.” 

The architects behind Illmatic’s sound were legendary producers like DJ Premier, Large Professor, Pete Rock, Q-Tip, and L.E.S. And while their avant-garde jazz templates, reverberating drum patterns, and mesmerizing loops were top of the line, Large Professor said they wouldn’t have the same effect without Nas’ masterful touch.

“The beats were cool,” the producer told HipHopDX in 2014. “They were good backdrops, but just the lyrics and the experience that he was putting down over those beats is why that album is heralded the way it is today.”

Following the release of Illmatic, Nas was championed as the second coming of Rakim, and the album received sweeping praise from fans and critics. The project scored a five-mic review from The Source, which was dubbed the “Bible of Hip-Hop” in the early ‘90s.

Former Hot 97 radio personality Minya Oh, who worked at The Source as an intern, was the one who penned the review under the moniker “Shortie.” In a 2014 interview with NPR, Oh talked about how the album’s vivid stories and production inspired her to award Illmatic with the rare distinction.

“Everything that I tried to analyze, I just couldn’t get away from the fact that I couldn’t find anything wrong, and that I also didn’t think it was ever gonna go away,” Oh said. “Or that I was never gonna not want to listen to this.”

The praises didn’t immediately translate to album sales. Illmatic reportedly debuted at No. 12 on the Billboard 200, only selling around 60,000 in its first week. The LP’s iconic singles also failed to scratch the charts. 

The underwhelming numbers were partly due to the album’s pre-Internet bootleg leak, which led to the album’s premature circulation. “Columbia was tripping,” Nas told Clash. “It was everywhere, months even before it was released.” 

But 30 years after its release, the album has finally earned its due. According to the Recording Industry Association fo America, Ilmmatic has sold more than two million copies, and it’s still heralded as one of the best albums of all time, regardless of genre. (Rolling Stone ranked Illmatic no. 44 on its list of The 500 Greatest Albums of All Time in 2020.) “I think it’s a perfect record,” Nas told Fuse in 2012. “I couldn’t say that before, but there’s so many different dynamics to it.”

Nas’ debut propelled the Grammy-winning artist to a spot he’s comfortably occupied for decades—atop the pantheon of all-time great MCs. It also helped reignite East Coast rap and set the stage for other New York artists to rise to stardom. And with each passing anniversary, Nas proves that time is truly Illmatic. 

While Nas told Billboard he no longer listens to his debut, the continued support and admiration for his work proves the immortality of classic records, no matter how much time elapses. “It means hip-hop is here to stay,” he said. “I said hip-hop was dead, and of course, the shit died, but the core of it was never touched. You can’t erase what happened.”

– SPIN Magazine

Erick The Architect Steps Into A New World On 'I’ve Never Been Here Before'

Rapper/producer Erick The Architect is no stranger to reinvention. 

The Brooklyn-bred MC cut his teeth over alt-East Coast beats as Erick Arc Elliot before forming psychedelic rap trio Flatbush Zombies with childhood friends Meechy Darko and Zombie Juice. But after multiple mixtapes and two albums with the group, Erick is returning to solo form and venturing into new creative ground. 

Following 2021’s Future Proof EP, Erick is embarking on new musical travels with the release of his official debut album, I’ve Never Been Here Before. Out Feb. 23, the double album explores Erick’s flowy instrumentation, poeticism, and artistry at full scale. The project is fueled by singles "Shook Up" featuring FARR and Joey Bada$$, "Ezekiel’s Wheel" with funk forefather George Clinton, and the breezy "Instincts" with Westside Boogie.

Erick says I’ve Never Been Here Before is more than a collection of catchy introspections, melodic monologues, and '90s-inspired jams. It’s the shedding of one persona — and sound — and the beginning of a new: the Mandevillain. 

"This album is an identity of a new person," Erick the Architect tells GRAMMY.com, noting that the moniker is an ode to his father’s hometown of Mandeville, Jamaica. "A lot of people may have thought there was a ceiling to what I’m capable of, but I think this album will showcase a brand new artist and identity, which is really hard to do when people think they already know you. But I really think this is unique." 

The switch isn’t just in name — he’s taken on a new approach to music, too. For the first time in years, Erick says he’s prioritizing himself and his specific musical world. "It’s the first time I have created with the headspace that I’m free," he says. "I find that other artists don’t listen to other people’s music when they’re in a creative space, but this is the most locked off I’ve been from things."

As much as I’ve Never Been Here Before signals new creative ground for Erick to fertilize, it also represents his collective efforts to limit distractions and break free of any barriers — personally and sonically. 

While it was difficult to stay so focused and inward-looking while creating his debut album, turning to some of his legendary collaborators provided some clarity. After having conversations with James Blake, George Clinton, and other artists as part of the project, Erick no longer feels forced to fit a mold or address outside criticism. 

"This album is about sacrifice, and I’ve Never Been Here Before is me being okay with losing things," he says. "I think that losing has always a negative connotation because nobody wants to lose, everybody wants to win. But it's the first time I'm losing stuff and it’s better being lost. Whether it's a habit or a person in your life, you don't need to hold everything."

I’ve Never Been Here Before lives up to its title in both theme and creation. Where Erick previously wrote songs in moments of vulnerability, the rapper says he "doesn’t feel that way anymore." 

Citing the work of Keith Haring, Miles Davis and Pablo Picasso as inspiration, Erick says he was driven to write more high-spirited songs, rather than ones tethered to struggle and hardship. As a result, the album is more accessible than some of his previous work.

"I’m tired of writing from a perspective of just being like, 'I’m sad today, bro,'" he says. "I haven’t made a project that I feel like you can just put that joint on and just play it, don’t even think about anything else because it’s commanding an energy that we all need." 

In transforming the project, the "Die 4 U" artist pieced together a blend of new and older songs he recorded five years ago. And while a double album is a "death sentence" in the eyes of most rap fans, Erick says he’s prepared for both heaps of praise and hurls of "he’s overrated" from listeners. He would feel more anxiety only if the music never came out.

"I’ve always believed that I had another special part of me that I think people didn’t witness because I didn’t put it out in the forefront," he says.

While getting a new release across the finish line can be a heavy weight to bear, Erick says he’s determined to prove his doubters wrong and own his legitimacy as a solo act. "I didn’t get lucky or sneak in here and steal beats from somebody’s laptop," Erick says. "This project is great to defeat people who have perceptions about me that are incorrect."

With the momentum of I’ve Never Been Here Before, Erick is set to test his new music and moniker on the road during his upcoming Mandevillain Tour, which kicks off in Austin on March 25.

Now that he’s fulfilling his ambitions as a solo act, the artist has a few more mediums he plans to explore – TV and film. After being a rapper/producer for more than a decade, Erick says he’s ready to take grander creative leaps.  "I’m just trying to take this to the highest caliber," he says.

– Grammy.com

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer

Metro Boomin isn’t your ordinary hero. Instead of scaling walls and flying over cityscapes, he possesses the rare ability to generate hits across a myriad of genres while remaining true to form. Like heroes in the Marvel and DC universes, the often withdrawn producer has played a not-so-quiet role in hip-hop for a decade.

For his superpowers, Metro has become one of the most in-demand sonic architects in the game. His collaborations with Future, Travis Scott, 21 Savage, Big Sean, and other big-name artists defied convention, turning Southern trap into high-performance art. Despite his reserved demeanor, Metro Boomin has been behind the board of more than 100 Billboard Hot 100 songs, including top 10 hits like the Migos’ "Bad and Boujee" and 21 Savage’s "Mr. Right Now" with Drake. 

Metro spread his heroics even further last year. He produced standout tracks on Young Thug’s Business is Business ("Oh U Went), Lil Durk’s Almost Healed (War Bout It") and other major releases, while cranking out his own viral hits – "Am I Dreaming" featuring A$AP Rocky and Roisee and "Superhero" with Chris Brown and Future. His contributions led to his nomination for Producer of the Year, Non-Classical at the 2024 GRAMMYs, and showcased his versatility as an artist. 

Thanks to Metro, and his unmistakable calling card — "If young Metro don’t trust you, I’m gon’ shoot you" — trap's appeal has grown outside of the rap community, influencing pop and R&B. And his string of hits with the likes of The Weeknd, James Blake and Solange further proves Metro's musical wizardry. 

But on his second album, Heroes & Villains, which is nominated for Best Rap Album at the 66th GRAMMY Awards, the St. Louis native proves that he's as strong a solo act as he is an engineer of others' hits. Driven by lead single "Creepin’" featuring  21 Savage and The Weeknd, the 2022 album topped  the Billboard 200 charts and became Metro’s third project to land at No. 1 

It’s the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes. 

Boasting features from John Legend, Future, Chris Brown, Travis Scott, Don Toliver, and Young Thug, Heroes & Villains is the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes.  

According to Luminate, Heroes & Villains netted Metro his biggest opening week to date, with an estimated 185,000 equivalent albums sold in the U.S. "I didn’t see that coming," Metro told DJ Drama in January 2023. "A lot of times my stuff will grow slowly because I’ll put my time into it and people will realize, Oh, this is dope. I thought it was going to be one of those usual things … But it definitely caught me off guard." 

In a recent renaissance of soundtrack projects, the multi-platinum producer also created the soundtrack to the animated blockbuster Spider-Man: Across the Spider-Verse. Metro flexed his versatility on the 13-song project, which combined sonorous trap beats, reggaeton and Afrobeat-inspired jams, and lush pop ballads. 

Metro's success and recent GRAMMY nominations have been the result of years of Herculean feats.  Never content to follow a single sonic thread, Metro has continually expanded his reach to other genres and mediums. He’s dabbled in film and TV, producing songs for the short-lived and The Weeknd-starring HBO series "The Idol," and embraced live orchestration both in song and performance. On songs like "On Time" with John Legend, the producer amplified the grandiose record with stringed instruments, then performed the song with a live orchestra at the Dolby Theater for the Red Bull Symphonic back in November 2023.

Despite his vast production credits, Metro says he’s been unfairly labeled a "trap producer." He’s conjured pop and R&B hits, too. "I love R&B music, I love making this, love making that," he told GQ in 2022. "Why would I wanna do something that I did?" Along with producing The Weeknd’s No. 1 song "Heartless," Metro laid his hands to tracks on James Blake’s Assume Form and Solange’s When I Get Home, then later produced Coldplay’s "Let Somebody Go" featuring Selena Gomez in 2019.

Metro’s venture into solo stardom shouldn’t be a surprise either; the 30-year-old producer told Billboard he wanted to be a rapper as a teenager. "In order to do that, I needed some beats, so I started to make my own beats." At age 13, Metro took notice of artists like Soulja Boy, who also made his own beats. "It was like … it’s possible." 

Now, after years of playing the background, the man behind the blistering trap beats and rattling hi-hats is finally unmasked and fully embracing his solo artistry. There were flashes of his genre-bending genius on Not All Heroes Wear Capes, with the Offset, WizKid, and J Balvin-assisted "Only You" melding trap, Afrobeats, and reggaeton in euphoric form, but Across the Spider-Verse fully showcases Metro's musical dexterity both behind the board and in front of the mic. 

On the film’s soundtrack, the roaring orchestral sounds of "Am I Dreaming" form a transcendent exchange between A$AP Rocky and eclectic vocalist Roisee. Songs like "Hummingbird" see Metro return to his trap roots, but James Blake’s harmonious croons breathe mists of pop magic into the track. 

The hip-swaying "Silk & Cologne" and "Link Up" fuse reggaeton and Afrobeats, but "Nas Morales" is a complete step in unfamiliar territory for Metro. The unlikely collaboration between him and Nas closes out the 13-song project — Metro’s most experimental to date. 

The album Heroes & Villains is more in line with Metro’s roots, with songs like "Superhero (Heroes & Villains)" and "Niagra Falls" highlighting the producer’s darker, more mystifying trap wizardry. He also, for the first time, conjured a rollout for the project. 

Before the album’s release, Metro dropped a short film that featured cameos from Gunna, Young Thug, and actors LaKeith Stanfield and Morgan Freeman. The video, directed by Gibson Hazard, shows TV journalists (Gunna and Thug) reporting on a firetruck driver (Stanfield) setting flames to a city’s streets. Metro, overlooking the destruction alongside Morgan Freeman, decides to take action and stop the arsonist. 

Last year was a big one for Metro, but the producer isn't driven by accolades.  He wants fans to know that no amount of fame or hardware can take him away from his calling. "More than any accolades, sales, and everything, I just want people to know at the end that I cared the whole time. Every ounce of effort that I possibly could put into the art, I did," Metro told Complex.  

With a new year in full swing, Metro has already hinted at a possible hat trick in 2024. While interacting with a fan on X, formerly known as Twitter, Metro wrote, "2023 was great but just watch what I do 2024!!!!!." The fan then asked how many albums to expect, with Metro responding, "3 at the very least." 

– GRAMMY.com

Benny The Butcher Is Ready To Rise On 'Everybody Can’t Go'

Benny The Butcher is prepared to spar with the biggest names in rap music to prove he’s one of the most prolific MCs in the industry. 

"My confidence comes from my talent, and my talent comes from my preparation," Benny tells GRAMMY.com. 

For the uninitiated, the East Buffalo rapper's brash delivery and unshakeable confidence could be perceived as arrogance. But for Benny and long-time fans of the Montana Avenue vet, he’s more than earned the distinction. 

"If you see these dudes, they’re not confident because they’re not prepared to talk that talk. We stand behind this music, man," he continues. "I’m only on this interview with you because I rap good. I’m not on this interview with you because I’m dating an R&B chick, or because I have a Rihanna feature.”

Benny The Butcher is just days ahead of releasing Everybody Can’t Go, his debut album with Def Jam Recordings. Out Jan. 26, Everybody is Benny's major label launch but it's far from his first foray.

Off the heels of his critically acclaimed album Tana Talk 4 in 2022 — which boasted the viral hit "Johnny P’s Caddy" featuring J. Cole — Benny has kept a steady hand on the pulse of the rap game. Since then, he’s been heard on DJ Drama’s "Forever," G Herbo’s "Real Rap" and memorialized a Buffalo legend on the BSF project Long Live DJ Shay.  

In that time, Benny, born Jeremie Pennick, has fashioned himself as the proprietor of "caviar drug rap," and he’s not afraid to remind you, either. He’s confident the release of Everybody Can’t Go will showcase his evolution as an artist.

"I’m on a higher level than I was. Everybody gets to watch my career elevate and it’s right in front of me," he says. "From the mixtapes, from the freestyles, featuring on Westside Gunn and Conway The Machine’s s–, and people share that journey with me. It’s high-level drug rap."

After switching his moniker from "Benny" to "Benny The Butcher," he veered away from rapping over other artists’ beats and started working with in-house Griselda producers like Daringer to round out his nostalgic, boom-bap sound that’s become synonymous with the Griselda imprint. 

If the album’s lead singles "Bron," "Big Dog," and the title track are any indication, Benny isn’t deviating from the sound that made him. Tales of his past exploits are coated in Hit-Boy and Alchemist beats, with features from Griselda and BSF collaborators Westside Gunn, Conway the Machine, 38 Spesh, Lil Wayne, and others. But the method behind the music, Benny says, was all the same. 

"I didn’t take no new approach, I just wanted to deliver some dope music and make sure I sounded how I felt," the 39-year-old MC says. "I feel like my sound is more refined and I switched my flow up."

To casual connoisseurs, Benny is a burgeoning star who’s aiming for wider success and acclaim. But for fans of the "Trade It All" lyricist, who saw his rise as the younger cousin of Westside Gunn and Conway the Machine on Griselda, he’s earned the right to share his vivid tales and signature brand of mafioso rap on a larger scale. And he’s already made good use of the label’s platform.

He’s rubbed shoulders with artists like J. Cole, connected with legends like Snoop Dogg for his Def Jam signing, and now has his sights on more R&B-oriented records. Benny wants to work with the "Queens of R&B and hip-hop," naming legends including SZA, Teyana Taylor, Coco Jones, Summer Walker, and others at the top of his list.  

With his ascension, Benny is continuing to discover the perils of fame. He admits it’s challenging to deal with trolls and faceless critics on X (formerly known as Twitter). "You have to remind yourself it’s only a fraction of the people. Their voice is so loud on social media that it tricks the artist into thinking that’s the general population that feels like that, but it’s not," Benny says.

He’s also accepted the fact that not everyone is meant to be a part of his journey. The sentiment inspired the new album title and is reflective of his new attitude: Whether friend or family, hindering his growth is too hefty a price tag. As his career continues to take flight, others will be left at the terminal. 

"Everybody Can’t Go is me realizing, Wow, it’s not for everybody even though I got this far to help provide opportunities," he said. "You could make someone the president or an A&R at Def Jam, but that doesn’t mean they’re ready for it. A lot of people don’t want to work, they just want what comes with the work —  the lifestyle, the fame, and the money."

After the project’s release, Benny intends to expand as a legitimate businessman and do more executive production, starting with his roster of BSF talent, which includes Rick Hyde, Heem B$F, ElCamino, LoveBoat Luciano, and other members. 

With Griselda, Benny already has his two cousins as counterparts, but Benny talked about having his daughter by his side during the album’s press run. He was impressed with her vocal ability and is open to exploring her musical side. "This is a family business," he says. "I encourage everybody to get into music because it’s therapeutic, it keeps you out of the way, and it’s lucrative if you do it right."

Of his growth as a solo artist, Benny says, "It feels like I’m on pace to keep doing great things." In the near-future, he's already making plans to dive into the film industry and drop another project to close out yet another big year in music. 

– GRAMMY.com

‘There’s no edge like Philly’: Why the city’s most talented won’t leave their hometown

Philly’s “got major talent,” as entertainment mogul Charles “Charlie Mack” Alston says. “There are some remarkable people and talent that have come out of Philly, and the city has a surplus of it.”

But the demands of the industry often pull artists, musicians, and actors away from their beloved hometown, forcing them to pack their bags and migrate to cities like New York, L.A., Atlanta, and Miami.

But for Mack, who was Will Smith’s long-term bodyguard and personal assistant before becoming a notable Hollywood power broker, there’s only one place he calls home — and that’s Philly. And he is not alone.

Some entertainers born and bred in the region can’t seem to leave the city behind. We asked them why.

Responses have been lightly edited for clarity.

DJ Jazzy Jeff

DJ and hip-hop pioneer; West Philly native

Where do you live?

I’ve lived in Delaware for almost 20 years, but I never had a desire to move far away. It’s what I know. This is home.

Does the Philly area’s affordability play a factor?

It’s true – Philly isn’t as expensive as New York or L.A., and I know the city so I feel more comfortable here. I know how to navigate Philly; I don’t know how to navigate New York or L.A. In Philly, I know my surroundings.

Why do you think some Philly-born entertainers choose to leave the city?

Philly is a tough town. It prepares you to go off into the rest of the world because Philly doesn’t show love to those who don’t deserve it. Nothing comes easy, and it prepares you to go to places like New York and do a good job.

I think the people who move out of Philly never lose the love for Philly.

What does Philly’s future as an entertainment hub look like?

If you look at the history, [the Philly scene was lively] with Kenny Gamble and Leon Huff, then it left. That was the neo-soul movement and [then came] The Roots, it all goes in cycles. I tell a lot of inspiring musicians to just be ready when it comes back because it’s coming back.

Tierra Whack

Rapper; North Philly native

What’s inspired you to stay in Philly?

I love to travel, visit new places, and experience new things but nothing feels better than waking up in my hometown, with people that look and feel just like me.

Did you always see yourself staying in Philly?

I am Philly [and] Philly is me. I love my city and everything it has to offer. I want to put my city on the map. I’m not sure why other people leave, but I’m here to stay.

In a past interview, you talked about pouring back into the city. What does that look like for you?

My goal is to build a creative space here in Philly. Not only where I can go and be creative, but where others can, too. I love what’s happening in our city right now, [and] I want to be a positive light for everyone coming up after me.

Eugene ‘ManMan’ Roberts

Producer and musical director; South Philly native

Why do you think so many popular entertainers from Philly prefer to live in Philly?

A lot of people pull from Philly. Every major album, tour, and every band — someone from Philly is in the mix. And sometimes when we leave home and go to these other places, you’re filling them up with your energy, your presence, and your sound, but they can’t refill that cup. You got to go back home to get that vibe, inspiration, and aesthetic that makes home, home.

What’s stopped you from leaving the city?

We got rich history here. We have amazing producers, songwriters, and artists. We’re really good, and I never wanted to turn my back on the place that made me who I am. I’ll always be that no matter where I go.

Do you see Philly becoming a renewed musical hub?

Philly used to have Philly International, Sigma Sound, and all these other studios, and people came here to cut records. But when the world went digital, it took away needing studios. Until we build up an empire of entertainment with studios and rehearsal facilities, I don’t think any city can [become a musical hub].

L.A. is all that because that’s where all the celebrities live, and there’s good weather but I think the pandemic made it a level playing field for everybody.

Charlie Mack

Entertainment mogul and community leader; Southwest Philly native

Why do you think big-name entertainers from Philly choose to venture elsewhere?

Philadelphia is like a character, and people that used to come here admired it, but admired it from afar. If you don’t feel safe, you can’t relax and let your hair down. Right now, we’re in a place where we’re hemorrhaging and going through a very horrific transition, and I hope and pray that the kids here have an opportunity to experience Philly the same way I did.

I love my city, but the reality is people don’t feel safe. And home is supposed to be just that: a place you feel safe and welcome.

How can Philly go back to being what it used to be?

The natives of Philadelphia are in a space where they don’t love themselves. That’s the harsh reality, and it’s hard for someone to stay put when they’re not received or revered from their own people. Artists need validation and love, it’s a part of their makeup. Philly is real and harsh, it will hit you right in your face. Residents won’t give you fanfare if you’re not tapping into the things that make them move.

How can we better retain the talent that comes out of Philly?

I feel like the men of the city of Philadelphia have to restore safety. Women are stepping up in major ways, but men have to restore everything that is amazing about Philadelphia: the artistry, the streets, the sports, the politics, city government, and everything that it’s about.

Adam Blackstone

Multi-instrumentalist and songwriter; Trenton native

What does being close to Philly mean as an entertainer?

One thing is the culture of Philadelphia. There’s a go-getter and hustler’s spirit. For me, no other city has embraced the arts like Philly.

In Philadelphia, we just want to see each other win and we represent our city from all over the world, no matter where we’re from. That’s always a plus we have that maybe other cities don’t.

Are there certain Philly spots that give you inspiration?

When we go to any sports event, whether it’s the Philadelphia Eagles, Sixers, or Flyers, I feel a sense of oneness and a feeling that we’re all fighting for the same thing.

Don Cannon

DJ and record executive, West Philly native now living in Atlanta

Why does it seem like more Philly artists are staying in the city?

I feel like people just love the culture. I can walk through Society Hill and Parkside, and it just feels different than anywhere else in the world, from Brooklyn to Compton. It’s just a different feel, and I think that’s why people want to stay here. And sometimes you get away from home and think, “Man, it’s not the same,” and go back.

I know you relocated to Atlanta, but do you ever come back to Philly?

I left when I was 18, but I often go back to see what’s happening there, what’s the newest trends, and to get some edge. Sometimes you travel across the world, but there’s no edge like Philadelphia.

– The Philadelphia Inquirer

Meet the sound engineer creating Philly’s new sound

Whether it was the Philadelphia Sound of the 1970s, the piercing jams that propelled the neo-soul era, or the inception of gangsta rap, Philly has always been a pioneer in music and culture. It’s home to artists who have gone against the grain, and now there’s a new legion of creatives continuing the tradition.

From Lil Uzi Vert and Tierra Whack to Armani White, Fridayy, D Sturdy, 2Rare, and others, Philly-bred stars are dominating the airwaves.

White’s “Goated” went viral on TikTok, and vocalist Fridayy is one of the most exciting R&B talents of our time. The booming and frenetic pace of D Sturdy’s “Shake Dhat” and Whack’s “Millions — Jumbo Sounds Mix” has added a Philly-style variety to the electro-sound.

This new Philly sound is a mix of pop-rap, trap, and Jersey club music, a subgenre that originated in Newark in the early 2000s.

One of the architects fueling this new creative wave is Ben Thomas. The 27-year-old audio engineer and producer most recently worked on Lil Uzi Vert’s hit “Just Wanna Rock,” which garnered a nod for best rap song at the 2024 Grammy Awards next month.

“There has been a strong emergence of artists from Philly based on the Jersey wave,” he said. “It’s really dope to see them winning.”

Uzi’s record, Thomas said, is one of the many demonstrating the city’s renewed musical charge and influence, beyond its very recognizable R&B sound.

“I think this period of Philly music is beautiful,” said Thomas, who marked his eighth Grammy nomination with “Just Wanna Rock.” “Uzi does a Philly and Jersey song, and then we have major artists copying their style. Also, we have so much talent here. It’s great to see people getting their shine and I’m blessed to play a small part.”

As an audio engineer and producer, Thomas is partly a curator and a connector. He has linked the city’s biggest artists and helped craft their solo or collaborative projects. And through his work with Uzi and other local artists, he has turned the once-regional Jersey club sound into one also helmed by Philly artists, and opened doors for emerging musical talents.

In the years of knowing Thomas, Def Jam signee Fridayy said Thomas has always made a way for Philly artists to flourish. “He’s definitely gone outside the box with a lot of records in Philly,” he said. But his work across different genres is what’s elevated Thomas’ profile.

Thomas, a New York native who moved to Philadelphia in 2009, attended Germantown Friends School and met now-mentor Brandon Jones, the school’s then assistant athletics director and varsity basketball coach.

When Thomas majored in business at Temple, it was Jones who convinced him to change course and pursue music full-time. “When you combine passion and work ethic with a skill set like [Thomas’], the result is what you see today,” Jones said.

After deferring a job offer from Deloitte, Thomas started a makeshift studio inside the basement of his mom’s Mount Airy home. This is where artist Chill Moody began working with Thomas.

Never taking up that Deloitte offer, Thomas met Lil Uzi Vert through their manager and became his dedicated sound engineer for three and a half years.

He recently branched out to pursue audio mixing and songwriting, which has led to collaborations with the likes of Justin Bieber, Bryson Tiller, Jazmine Sullivan, and Meek Mill. Or in other words, “the stuff that’s getting the national attention, like the big stuff,” as Moody puts it.

For Thomas, “It’s just me planting a lot of seeds.” He likes to think he is just “doing me, and that some of the stuff I’m doing is winning. But I also don’t want to be complacent. It’s important to get on the new wave as it changes.”

When DJ Don Cannon met Thomas through Uzi, he was immediately struck by how Thomas studied the business and evolved as an audio engineer. “He was never late and his ear was always tuned for today’s work. It’s something a lot of people would look past,” the Generation Now label cofounder said. “And unlike most engineers and producers, Thomas didn’t smoke or drink; ... [he] used to watch Jeopardy! in his free time.”

“This new phase of Philadelphia music has been brewing since 2015 or 2016,” said Armani White, who shot to fame with his viral hit “Billie Eilish.” “We’ve all been around each other, and in some way crossed paths, and [Thomas] has been in those rooms with a lot of different names.”

As Thomas continues to perfect his craft and pursue songwriting ventures, he wants to put the same energy toward community service and engagement, especially for young students of color. Along with opening the doors of his Kensington recording studio to local artists, Thomas mentors young residents who are a part of GettingtheMAXoutoflife, a community-based program ran by life coach and motivational speaker Maxwell Brown.

“I think he has qualities that will make him one of the greatest producer-engineers of all time across all genres,” Moody proclaimed.

And while Thomas is happy to receive the recognition, and he’s hopeful Uzi’s name gets called on Grammy night, awards are not a source of motivation for him; it’s community itself. “It’s not a one-person show over here,” he said. “There’s a lot of support that allows me to shine, and I’m very thankful for everybody.”

– The Philadelphia Inquirer

Nothing To F With: How 'Enter The Wu-Tang' Established One Of The Greatest Rap Groups Of All Time

In the early 1990s, hip-hop was on the verge of being its broadest. 

Hip-hop had grown far beyond its origins in the Bronx, as acts like Public Enemy, A Tribe Called Quest, and De La Soul drew listeners outside New York’s five boroughs. Elsewhere, a legion of MCs from L.A., the Bay, and the South were cementing their legacies. 

Amidst the plethora of sonic riches of hip-hop's golden age, Staten Island’s Wu-Tang Clan stands out. Comprised of lyrical spartans GZA, Method Man, Raekwon, Masta Killah, Ghostface Killah, Inspectah Deck, later Cappadonna, U-God, master producer RZA, and the late, charismatic force Ol’ Dirty Bastard, the group laid the ground for hardcore hip-hop acts to follow. 

Their weapon of choice: 1993’s Enter The Wu-Tang (36 Chambers) — which celebrates 30 years on Nov. 9. Enter The Wu-Tang sparked a new brand of hardcore, gritty street rap that transported listeners with its dark sonic landscape. 

Filled with martial arts and comic book references, loogie-spitting posse cuts, and mystifying street tales, Enter The Wu-Tang drew audiences to the borough of "Shaolin." The album's darkly-brewed beats and mixes had an amateurish charm, but all nine tracks were laced with RZA’s early musical wizardry and ear for ominous, hard-hitting instrumentals. 

For every musical or budgetary limitation, Enter The Wu-Tang boasted some of the best lyrical assaults the genre has ever heard. Now-classic songs like "Da Mystery of Chessboxin’" and "Protect Ya Neck" and conjured visions of the Shaolin streets, and added to New York’s stronghold on the genre. 

Unlike the more socially conscious and jazz-influenced sounds of New York rap at the time, the influential album was marked with soundbites from kung-fu flicks and sped up soul samples with an eerie, grudgeful echoe. Among the gallery of inspiring cuts, "C.R.E.A.M. (Cash Rules Everything Around Me)" features a sample of the Charmels’ 1967 song "As Long As I’ve Got You." 

Despite the group’s size, every member had a stand out moment on the project. And most, with the exception of Masta Killa, have several. Method Man goes full nuclear on his self-titled track, Raekwon and Ghostface show early flashes of their collaborative magic on "Can It All Be So Simple," and the infectious charm of Ol' Dirty Bastard runs wild on "Protect Ya Neck." 

The album was off-kilter in design, but Wu-Tang carved a path for hard-edged acts to follow. The album even inspired New York instrumental soul group El Michels Affair, which released their own version of the album, Enter The 37th Chamber, in 2007 in echo of the legendary beats sampled on Wu-Tang's the classic project. 

Since its release, Enter The Wu-Tang has sold more than 3 million records and landed on countless all-time best album rankings. As of June 2023, the album is at the No. 27 spot on Rolling Stone’s 500 Greatest Of All Time list. For its relatively short length, Wu-Tang Clan's debut has had an outsized impact on hip-hop — both in terms of influence and the trajectory of its members. 

With Enter The Wu-Tang and their subsequent releases, Wu-Tang cornered the rap market in the 1990s. Before Wu-Tang, there were no other notable rap acts from Staten Island. While Brooklyn, Queens, Manhattan and the Bronx held most of the industry’s grip, Wu-Tang helped blaze the path for acts outside of those regions to flourish. 

While groups like Public Enemy, A Tribe Called Quest, N.W.A. and Run-D.M.C. are certainly influential, the star power within Wu-Tang is unique. Between the group’s debut and follow-up album Wu-Tang Forever — which was nominated for Best Rap Album at the 1998 GRAMMYs — GZA, Method Man, Raekwon, Ghostface Killah, Ol' Dirty Bastard, and others released critically acclaimed solo albums.

Method Man even received a Best Rap Performance by a Duo or Group GRAMMY for Tical’s "I'll Be There For You/You're All I Need To Get By" at the 1995 GRAMMYs. Outside the accolades, Raekwon’s Only Built For Cuban Links and Ghostface’s Ironman lit up the New York streets in 1995, and GZA’s Liquid Swords remains one of the more acclaimed outings from the group’s more withdrawn characters.

While some were more commercially successful than others, they all added to the group's influence and arguably proved its distinction for best rap group of all time. 

Method and New Jersey legend Redman brought their comedic chops to the big screen in How High. The pairing was like a hip-hop Cheech and Chong, and the film went on to become a cult weed movie classic. Like Meth, RZA and other members appeared in TV shows and films for decades. 

In 1995, Wu-Tang Clan established the apparel brand Wu Wear, one of the first artist-inspired lines in music history. It opened the doors for hip-hop culture in retail, and inspired a global interest in Wu-Tang's simple, raw style. The group and the apparel line helped usher in the militant street style of the era, complete with baggy jeans, oversized t-shirts, Timberland boots, durags, gold fronts, sports jerseys, and puff jackets. 

As the group grew in popularity, the members joined forces with business partner Oliver "Power" Grant and opened four Wu Wear stores across the country, including one on Victory Boulevard in Staten Island. The line was carried by retail giants such as Macy’s and renamed Wu-Tang Brand in 2008, and Grant discontinued the Wu-Wear line. But after RZA joined hands with Live Nation Merchandise, the brand was relaunched in 2017. 

The cult interest in Wu-Tang's image continued. In 1999, Powers developed a video game centered on the group, called Wu-Tang: Shaolin Style. The 3D fighting game for PlayStation featured characters based on the group members’ stage personas and mirrored the martial arts themes in their music. They also provided voiceover work and music contributions to the four-player game. 

Other artists followed Wu-Tang's blueprint in the decades since the group debuted. Acts like Mobb Deep, Nas, the Notorious B.I.G. and others adopted the hardcore rap style mastered by Wu-Tang — but none harnessed the same manpower or presence as the group over the decades. But the 2010s saw the re-emergence of rap supergroups. 

In Harlem, the Diplomats and ASAP Mob captured the same collaborative and entrepreneurial spirit of Wu-Tang, but with a more varied musical approach. Out West, the Tyler, The Creator-led Odd Future surpassed the 11-member group in scale, but their work and impact haven’t matched that of the Staten Island collective. 

The closest to mirror Wu-Tang was Pro Era, which adopted the classic, boom-bap sound of the '90s. The mega group also pursued an assortment of branding and entertainment ventures, and one of the group’s founders, Joey Bada$$, even played Inspectah Deck in the Hulu biographical series "Wu-Tang: An American Saga." The group’s presence also inspired future Staten Island products like Killarmy, G4 Boyz, and Cleotrapa.

Given the group’s accolades and cultural impact in the decades since their debut, it’s true: "Wu-Tang Clan ain’t nothing to f— with." Its members have redefined longevity in rap by continuing to have a hand on the pulse of popular culture, both in music, film, TV, and entertainment. Few other groups have matched their successes, and as the collective continues to etch its path, there’s no telling how many more barriers they will break. 

At night, he’s laying down verses. By day, rapper Anthony ‘Dappa’ Samuels runs a day care in West Philly

Electrifying performances, late-night studio sessions, and endless tour stops: The lifestyle is second nature to Philly rapper Anthony “Dappa” Samuels, whose connections and lyrical prowess have landed him on stages with some of the biggest names in the industry.

Equipped with punchy lyrics and a charisma-fueled appeal, the 30-year-old has performed with the likes of Fabolous, Machine Gun Kelly, Action Bronson, and Ty Dolla $ign. He’s collaborated with Westside Boogie, Stalley, Benny the Butcher, and other notable hip-hop stars.

But that’s only half his story.

Between the late nights in the studio and the days traveling from one tour stop to the next, Samuels happily embraces his role as “Mr. Anthony,” the owner of West Philly’s Young With Options Academic Center.

After quitting a job in accounting back in 2017, Samuels was encouraged by one of his mentors to pursue his love for child care and open the learning center. That year, he began operating out of a rowhouse at 53rd and Market Streets. “My overall vision was to have a creative arts program or creative art school,” he said. “That’s been a passion of mine for a long time, and we’ve been able to incorporate it here.”

The day care’s multicolor marquee hangs outside a powder blue rowhouse adorned with painted clouds. The space is a wonderland for young kids with bright eyes, endless energy, and an insatiable appetite for learning.

As Samuels walks through the day-care doors, kids look up from their cots with smiles as bright as the center’s crayon-colored walls. “Hey, Mr. Anthony,” they yell out in cheer.

Samuels and assistant director Dinnelle Jordan help organize poetry, music, and acting classes in the multi-floor space. Last month, they started a dance studio on the top floor, where they teach majorette, hip-hop, ballet, and other dance and exercise courses.

Most of the children hail from low-income families from West Philly.

Janelle Walls has been bringing her 7-year-old daughter to Young With Options since she was 1. Walls continues to send her child because of Samuels’ influence and willingness to support her family, even when she couldn’t afford the fees.

“One word I use when speaking about [Samuels] is ‘alignment,’” she said. “He isn’t at the school preaching positive behavior to the kids and then going into the studio and pushing a different message. Everything about him and what he does is consistent with the Young With Options brand. To me, it’s a message to kids that you can be yourself and still be successful.”

In the five years she’s worked with Samuels, Jordan said he’s been a consistent light of positivity. While other rappers dive into fast food chains and clothing lines on the side, his venture into child education speaks to his love for the youth, she said. “The fact [that] he helps other families go to work while looking after their children was a brilliant idea,” Jordan said. “It just goes to show how much he cares about his community.”

As a kid growing up in the Strawberry Mansion section of North Philly, Samuels said he seldom saw Black men with legitimate businesses, especially those revolving around childcare. “I love being able to be there and be hands-on,” he said. “I take a lot of pride in that, and it actually helps me with music and in life. I know I have to be that mentor and can’t do anything illegal, snap out, or make bad decisions. I have to stay solid.”

Samuels said being a day-care owner has had an impact on his music. He’s made a conscious effort to veer away from lyrics heavily revolving around street life. He knows his students are listening to his music, and their parents are keeping a watchful eye.

“I’ve seen and been through a lot,” he said. “I’m from the same environment that the kids in my day-care are from. I was one of those little kids, too. That’s what I love about being here. A lot of these kids, especially the little boys here, look like me and act like I did at one point in time.”

Samuels performed at the 2023 Roots Picnic Music Festival and acted alongside Danielle Macdonald in the film Patti Cake$. He was a stand-in for Michael B. Jordan in 2015′s Creed.

Legendary Philly artist Freeway said Samuels’ rap skills alone were enough to connect the two artists. But after hearing about Young With Options and the rapper’s other endeavors, he knew Samuels was cut from a different cloth.

“He’s always trying to go to the next level and push the envelope,” the “What We Do” artist said. “I feel like he’s going to have a long career and branch off into movies and different things outside of music every once in a while.”

Samuels said he wants to continue expanding as an artist and entertainer. But in that pursuit, he plans to open more academic centers so more children have a place to hone their creative arts skills.

“It’s all about me making a difference,” Samuels said. “I’m really big on the people, so I’m working to get bigger and have more day cares in the future.”

– The Philadelphia Inquirer

Essential Hip-Hop Releases From The 2010s: Ye, Cardi B, Kendrick Lamar & More

Few genres have evolved as remarkably as hip-hop over the past five decades, and the eerily recent, yet, distant 2010s saw the genre at its most progressive. Legendary acts and fresh-faced stars pushed rap’s cultural and musical bounds, opening a pathway for a new class of artists to emerge, and for overlooked regions to gain their deserved recognition. 

With the expansion of hip-hop’s mediasphere, artists that would’ve been confined by their locale crossed the invisible barriers of rap music to establish themselves as mainstream success. Canada-born stars PartyNextDoor, The Weeknd and Drake took over rap the same way the Brits took over rock music in the 1960s, and it was made possible by the boundless nature (and unprecedented sonic access) of today’s rap fan. 

The emergence of SoundCloud elevated lesser-known talents including Playboi Carti, Lil Uzi Vert, 21 Savage, the late Juice Wrld to superstardom at a rapid pace. The era also marked a sonic turn in the industry, which saw artists merge their styles with those of other regions. That’s why artists like Asap Rocky adopted elements of Houston’s chopped-and-screwed sound in his early discography, despite his Harlem origins. 

Legacy acts like Jay-Z, Kanye West, Eminem, and Nicki Minaj continued their reign as rap heavyweights, with record sales and award wins showcasing their influence. The period also saw the emergence of hip-hop’s three horsemen – Drake, J. Cole and Kendrick Lamar – who carved their legacies with chart-topping hits and groundbreaking albums throughout the 2010s. Their contributions, as well as those from Future, Big Sean, Travis Scott, and Chance the Rapper, set the stage for the decade. 

Read on for 10 of the most consequential releases of the 2010s.

Ye - My Beautiful Dark Twisted Fantasy (2010)

Just a year removed from interrupting Taylor Swift on stage during the 2009 MTV Video Music Awards, Kanye West, now known as Ye, produced arguably the best rap album of the decade, My Beautiful Dark Twisted Fantasy. 

It was a career turn that’s more familiar to rap fans in recent years, but the Chicago rapper snapped back with a glossy, epic-level album that was a culmination of his best work to that point — or maybe ever. From "Dark Fantasy" to "So Appalled" and "Gorgeous," West was at the peak of his lyrical powers, with the rapper-producer exchanging sharp-tongued lyrics with wordsmiths like Pusha T, CyHi The Prynce and Raekwon.  

The album also set the stage for one of the best collaborations of the year, with West, Rihanna and Kid Cudi merging their creative powers to create the wondrously rhythmic, GRAMMY-winning hit, "All of The Lights. And Nicki Minaj fans still reference the star’s verse on "Monster," which saw the Jamaica Queens native rise above rap titans Jay-Z and Rick Ross on the smash-mouth track. 

Wiz Khalifa -"Black and Yellow" (2010)

After making his name in the mixtape circuit with classic projects Kush & Orange Juice and Flight School, Wiz Khalifa’s  mainstream breakthrough came in the form of 2010’s "Black and Yellow." The hit song bolstered the Pittsburgh rapper’s profile in time for his debut studio album, Rolling Papers, and put his hometown and Taylor Gang crew on the hip-hop map.

With the Pittsburgh Steelers making it to the Super Bowl in 2011, the Stargate-produced hit became the team’s unofficial anthem and spawned other remixes in the same vein. "Black & Yellow (G-Mix)" featuring Snoop Dogg, Juicy J, and T-Pain, Brooklyn rapper Fabolous honored the New York Yankees with "White and Navy" and Lil Wayne paid homage to the Green Bay Packers with  "Green and Yellow."

The success of "Black and Yellow" opened the doors for Khalifa and his stable of Taylor Gang talent to flourish, namely artists like Ty Dolla $ign, Chevy Woods, and Three 6 Mafia legend Juicy J. The song also placed a brighter spotlight on Rostrum Records and recent signee Mac Miller, who was months removed from releasing his acclaimed K.I.D.S. mixtape and would later become a star before his unexpected death in 2018. 

Chief Keef - "I Don’t Like" (2012)

The city of Chicago was set ablaze with the release of Chief Keef’s "I Don’t Like." The Young Chop-produced track popularized the city’s drill sound, which established a new influx of talent bred from the Windy City and a subgenre later adapted by UK and New York rappers like Fivio Foreign and the late Pop Smoke. 

The impact of the street hit led to its inclusion on the G.O.O.D. Music compilation project, Cruel Summer, featuring artists Pusha T, Kanye West, Big Sean, and Jadakiss. "I Don’t Like" was later placed on Keef’s debut release, Finally Rich, helping further catapult the Chicago artist to mainstream notoriety. The song is still credited as the launching pad for the drill movement, with Keef viewed as the forefather of the subgenre as a whole. 

Kendrick Lamar - Good Kid, M.A.A.D City (2012)

For many hip-hop fans, Kendrick Lamar’s Good Kid, M.A.A.D City reestablished the West Coast’s grip on the rap game, which for years, was singularly held by The Game. 

After the release of Lamar’s independent album Section.80, his second turn took more of a mainstream approach while chronicling his teenage years in the gang and crime-ridden streets of Compton. He enlisted artists like Drake for the flowy, Janet Jackson-sampling hit, "Poetic Justice," and drew in legends like Dr. Dre for "Compton" and Jay-Z for "Bitch, Don’t Kill My Vibe - Remix." 

The multi-platinum project was produced by Dj Dahi, Sounwave, Hit-Boy, Scoop DeVille, Just Blaze, and others, who delivered atmospheric and tight-bass beats for Lamar’s narrative-driven concept album to flourish. Good Kid, M.A.A.D City earned Lamar four GRAMMY nominations at the 2014 GRAMMY Awards, including Album Of The Year. And while he didn’t take a gramophone home during that night, his major label made him the face of West Coast rap for years to come. 

Future and Drake - What a Time to be Alive (2015)

After cranking out moderate hits like "Tony Montana" and "Never Satisfied," Drake and Future linked up for an Avengers-level collaboration, which culminated into 2015’s What a Time to be Alive. 

The project came together after Drake met with Future in Atlanta for six days. Their first recording was "Digital Dash," and from there, the two artists merged their respective sounds together for a hyper-trap mixtape filled with hits like "Jumpman" and "Big Rings." On the production side, What a Time to be Alive was largely handled by executive producer Metro Boomin, who produced or co-produced eight of the project’s 11 songs, alongside fellow beatmakers Noah "40" Shebib, Allen Ritter, Southside, Boi-1da, and others. 

The 2015 release also foreshadowed Future and Drake’s later collaborations. Future enlisted artists like fellow Atlanta rapper Young Thug for Super Slimey and Lil Uzi Vert for Pluto x Baby Pluto, and Drake linked up with 21 Savage for 2022’s Her Loss.  

Rae Sremmurd - "Black Beatles" (2016)

After scoring hits like "No Flex Zone" and "No Type,"  brothers Swae Lee and Slim Jxmmi literally had the world in suspension with the 2016 hit "Black Beatles" featuring Gucci Mane.  The "SremmLife 2" single sparked the viral mannequin challenge, which saw social media users stand frozen in time as a camera filmed their surroundings with their song playing in the background.  

Internet trends aside, the song was a massive hit that landed the group and Gucci Mane their first No. 1 song on the Billboard Hot 100. The Mike Will-produced track also pushed additional sales of the duo’s second album, which went from selling 30,000 equivalent units in the first week to eclipsing one million sales by November 2017. 

Jay-Z - 4:44 (2017)

With a resume as stacked as Jay-Z’s, his claim as the greatest MC of all time was viable long before the release of 4:44. But the late-career release did more than just add to his illustrious discography; it was one of the most complete and transparent bodies of work Hova has ever produced. 

On tracks like "Kill Jay-Z," the Brooklyn rapper stripped his ego-fueled moniker to give listeners a snapshot of his upbringing and past failures as Shawn Carter the man. He takes a step back to reflect on his mother’s sexuality on "Smile," and the challenges he faced in his marriage to Beyoncé on the title track. 

While many viewed 4:44 as a response to Bey's Lemonade album, the project also touched on the importance of shared success on "Legacy" and the push for generational wealth on "The Story of O.J." 4:44 garnered three nominations at the 60th GRAMMY Awards, including Song Of The Year and Album Of The Year. 

Migos - "Bad and Boujee" (2016)

During the 2017 Golden Globe Awards, rapper and Emmy-winning actor Donald Glover had a confession: Migos’ "Bad and Boujee" was the "best song ever." By then, the 2016 single was already a popular viral hit, with memes surrounding the lyrics "rain drop, drop top" bubbling up online. But Glover’s shoutout helped the G Koop and Metro Boomin-produced hit to reach the top spot on the Billboard Hot 100, a first for the Georgia-born rap group and featured artist Lil Uzi Vert.

"Bad and Boujee" established the Migos as the hottest rap group of the era, and spearheaded each member’s solo projects and business ventures. The multi-platinum single was even nominated for Best Rap Performance at the 2018 GRAMMY Award. 

Drake - "God’s Plan" (2018)

With countless across the 2010s, it’s hard to choose which Drake record made the biggest splash during the era, but 2018’s "God’s Plan" has a case when it comes to global reach. Produced by Cardo, Young Exclusive, Boi-1da, and long-time collaborator Noah "40" Shebib, the GRAMMY-winning single topped the charts in 14 countries while posting record-setting streaming numbers.

Though the pop-trap hit was met with mixed reviews upon its release, "God’s Plan" shattered Apple Music and Spotify first-day streaming numbers with 14 million and 4.3 million, the most of any song that year on both platforms. By the first week, the song climbed to 82.4 million total streams. 

"God’s Plan" was the lead single for Drake’s EP Scary Hours and fifth studio album Scorpion, and notched the Toronto artist Best Rap Song at the 2019 GRAMMYs. The song’s music video, which showed the rapper giving out a million dollars to people in Florida, also made waves online, amassing countless social media memes and over 1.5 billion views on YouTube as of July 2023.

Cardi B - Invasion of Privacy (2018)

The story of Cardi B, who rose from reality TV star to GRAMMY-winning artist, proved there could be more than one Queen ruling over the rap game. And her groundbreaking debut, Invasion of Privacy, inspired a new legion of women artists with dreams of occupying their own respective thrones. 

With street anthems like "Bodak Yellow," "Bartier Cardi," and the reggaeton-inspired "I Like It" featuring J Balvin and Bad Bunny, Cardi showcased her knack for catchy hooks, sharp lyrics, and the colorful personality found beneath the brash, aggressive flow. Producers DJ Mustard, Allen Ritter, Benny Blanco, Boi-1da, and others elevated the project to album of the year consideration. 

Along with winning Rap Album Of The Year at the 2019 GRAMMYs, Invasion of Privacy took the No. 1 spot on the Billboard 200 upon its release, making Cardi only the fifth female rapper to reach the top of the charts at the time. Even in the years after its release, the album continues to make history for the "WAP" artist, who became the first woman to have all of her album’s songs reach platinum status when Invasion of Privacy reached the milestone in 2022, according to Billboard. 

– The Recording Academy/GRAMMY.com

6lack Feels Good To Be Back In Motion

In the five years since his last album, 6lack has been on a voyage of rediscovery. While hits like “Ex Calling” and “Prblms” established his penchant for moody and atmospheric tales of heartbreak and loss over mid-tempo jams, the East Atlanta artist has taken on a new creative direction.

Veering from his grayscale vocals and mellow-tone raps, his new album, Since I Have a Lover, unlocks a chamber of new inspiration both musically and on his own personal journey.

“Time has been a little bit of a loop,” 6lack tells MTV News over Zoom. “It was a lot to learn. It was a lot to handle in my personal life. It was a lot to mature and grow from. And I think that the weight of having people waiting on you is something that you can't really ignore. It's not like it doesn't exist, so it feels great to have that weight off and to just be back in motion.”

On Since I Have a Lover, the airy vocals of the artist, born Ricardo Valdez Valentine Jr., float over breezy, pop and acoustic-driven instrumentation on “Chasing Feeling” and “Wunna Dem,” and 6lack flirts with dance (“Temporary”) and wallows with Caribbean, beach-front tunes on “Decatur,” allowing his artistry to roam free.

“I think it's been super important to grow in between each project, and not even just musically, but personally,” he said, referencing the “moody” tenor of his 2016 debut, Free 6lack. “It felt like somebody trying to figure their way out of the situation, and East Atlanta Love Letter started to peek at where we could go with it within the realms of R&B. I think this album production-wise allowed me to express every feeling that I feel. Some days I might feel more pop or [alternative], and some days I might feel more traditional R&B or rap. It varies and it kind of plays to how relationships vary — everything isn't just one feeling or one color.”

The 19-track offering is an exercise of 6lack’s versatility. He melds inklings of his Atlanta trap roots with guitar-strumming and flowy tracks, all revolving around themes of self-healing (“Spirited Away”), positivity, and the mystifying powers of love on “Preach” and “SIHAL.”

For 6lack, this new direction was a “gradual blossom.” While there were cookie crumbs on 2020’s 6pc Hot EP that pointed to this more immersive effort, the Baltimore-born artist said the new album’s title, partly inspired by his relationship with R&B singer Quin, helped spark a new flame. It also drove him to create an open letter to his fans, which he hopes answer the questions that have loomed in his musical absence.

“I feel like the title more than anything it’s a response,” 6lack said. “It kind of serves to answer every question. Like, ‘Where have you been? What have you been doing? What's the theme? What's been inspiring you the most? Why haven't you been outside?’ Any question that you could possibly ask me, I think ties back to the title Since I Have a Lover. Having to be accountable for yourself is one thing, but having somebody next to you who can really look at you and see you for what you do right and what you don't do right and tell you just a hundred percent straight up, that helped me really hone in on where I wanted to be in my personal life and where I wanted to be creatively. It was like, ‘OK, I got to get my shit together. And once my shit is together in my personal life, then I know that will help inspire what I make music-wise.’”

But the shift was no easy feat. To embrace his new sound, he had to let go of the sorrow, regret, and heartache he internalized for Free 6lack and his romantic skepticism and stories of failed love quests that bled into his second effort. Once those thoughts were steered, once he focused on the treasures of his newfound relationship, and once he waived his past transgressions and mental blocks, 6lack sank into a new music-making paradigm, and the album poured out and turned into sonic gold. On “Spirited Away,” he says: “You know I got my vices, on the real / No, I ain't always nice, but I’m always real / It’s gonna take me some time to break off my pride / But I’m learning to show up, learning to slow up.”

“The process was only hard when I was resistant to change and to acknowledge that my life is different now,” he said, referencing how he’s stopped letting others’ perception define his personal and artistic growth. “I’m not sulking, I’m not depressed, and I’m not going through what I went through in 2016. If you even try to start a song that way, you might as well stop because that's just not it. And if you continue, that's what we call perpetrating, and I'm not here to portray anything for a specific award or category. I just want to make what's true to me.”

6lack’s sonic transformation was one he felt both he and his fans needed. In a world where negativity draws headlines and tilts the algorithm on its scale, the 30-year-old artist said it’s his responsibility to share notes of positivity. And on Since I Have a Lover, he never falls short of his mission.

On “Preach,” he raps: “Who am I to capitalize without giving back? / We all human but I can’t go a day not feeling Black / I made my money, but to my audience, I’m still attached / It’s like I know the whole world just wants that feeling back.”

“I think that the toxic theme has been populated and I think that it is honestly a lot easier to pull from depression, from heartbreak and breakups. And to me, that's easy,” he said. “It's harder to talk about good things. It's harder to make that translate or resonate with people. It is harder to make that sound cool. The world is only getting crazier, so if I can be at least a portion of the good that's coming out, then that's my job.”

His exploration doesn’t end with SIHAL. Along with feeding his current inspirations, the “Float” artist plans to collaborate with Quin, the very lover that inspired the new album title, and possibly lock in with Spillage Village group-mate JID for an upcoming collab project.

“I'm just going with the process, but I hope it continues to be something different,” he said. “I don't ever want to make the same album twice. I don't want to be in the same bag twice. I'm not telling the same story twice. There will never be a Free 6lack 2 unless I end up in a situation that puts me there, and let’s hope I don’t have to because that’s not what we’re looking forward to at all.”

– MTV News