Tag: hip hop 50 landing page

Masked Wolf Brings His Flare of Fast Rap to Australian Hip-Hop

Rapping about personal struggles is one thing Harry Michael, musically known as Masked Wolf, isn’t afraid to do. The artist’s song “Astronaut in the Ocean” touches on what it’s like to not fit in: “I really wanted to express the meaning of feeling out of place. I had the suit on but wasn’t in the right environment,” Harry shared recently with For the Record. “It really speaks about the mental struggles from that specific situation.”

The song is resonating with listeners in a big way. Since its release, “Astronaut in the Ocean” has amassed more than 240 million streams on Spotify. “It has felt a bit weird, to be honest,” Harry said, when describing what it’s like seeing his song rise on the charts. “You never expect the moment to actually happen, and now it has. I honestly haven’t had time to relish the moment because it is full steam ahead.”

The Australian is finding fans far beyond the geographical boundaries of his region. In fact, Spotify data shows that the top three countries listening to the rapper are the U.S., Germany, and India. His single has also appeared on over 100 editorial playlists, including Today’s Top Hits, Hot Hits Australia, Hot Hits Turkey, and Viral Hits.

This global audience comes as a surprise to Harry. “In no way did I think I would reach these kinds of areas or levels. It has really, really shocked me.”

His thoughts on why his music has been so well received? It’s relatable to everyone. “It’s not just about the cars, jewelry and fame … It’s about how people are currently feeling,” explains Harry. “Astronaut in the Ocean” isn’t the artist’s only single that references mental health. Lyrics from other songs touch on topics of anxiety and peer pressure—things Harry feels his audience can relate to. “I never was like these are things I must speak about. It was more about me speaking about my own personal troubles and trying to give people the courage to speak about their own.”

Inspired by artists like Joyner Lucas, SAINt JHN, Hopsin, and Kevin Gates, Harry describes his sound as “authentic and original, with a flare of fast rap.” Hear it for yourself by listening below.

‘A1: The Show’ Brings a New Side of Australian Hip-Hop to Listeners

Hip-hop fans in Australia know exactly where to go to get a taste of the latest hits: Spotify’s A1 playlist. A1 has been rapidly growing in listenership and last year saw as many as 227,000 daily streams. The playlist is known for highlighting tracks of both seasoned stars and emerging talent. In fact, RADAR artist The Kid LAROI saw fast-rising success when his debut song “Blessings” first appeared on the playlist.

The demand for this genre shows that hip-hop is no longer a niche sound in Australia, but rather a global trend that has a dominating presence in mainstream music. Building off this demand, Spotify is excited to introduce A1: The Show, which uses our new music and talk feature. 

The format will put top tracks from the A1 playlist alongside talk show–like commentary from hosts. Listeners will get to hear the voices of local hip-hop artists, and the content provides new opportunities to expand the conversation around the genre in Australia.

A1: The Show will be hosted by Jade Le Flay, Jazmine Nikitta, and 24 Karat Kev, who are influential members of the Australian hip-hop community. Each episode will feature tracks from the A1 playlist (which is updated weekly) and will showcase both local and international artists. Check out the show below:

Spotify’s Virtual Notting Hill Carnival Microsite Amplifies Black Creators Like Never Before

London’s annual Notting Hill Carnival is a 54-year-old celebration of the United Kingdom’s Caribbean community, and it’s often filled with parades, food, and, of course, music. Due to this year’s social distancing recommendations, the Carnival’s in-person events are on hold, but the art and culture of the U.K.’s Black creative community can be heard just as loudly as Notting Hill Carnival goes online. As an official partner for Notting Hill Carnival 2020, Spotify is excited to share our dedicated Carnival microsite, with a full virtual musical lineup, playlist takeovers, art experiences, and more.

That’s right: The party isn’t stopping; it’s just moving from the streets into your home. Our new microsite is filled with playlist takeovers from big names, and it gives fans a chance to explore over 40 of the official Notting Hill Carnival sound systems and on-the-road DJs who spin dub, reggae, soca, soulful house and everything in between. Plus, we’ll be featuring an exclusive portrait and film gallery from renowned photographer Ekua King, podcast episodes covering Carnival’s rich history and a look forward, and ways to tune into live events throughout the weekend.

“Notting Hill Carnival is such an important celebration of Caribbean heritage for communities in London and beyond—enriched in tradition and activism and lived through music and dance,” says Sulinna Ong, Head of Music at Spotify U.K. and Ireland. “While it can’t take place in its usual way, it’s key that the celebration continue—in homes, living rooms and gardens—especially given the current climate.”

Learn how you can celebrate Carnival through some of Spotify’s microsite features.

Playlist takeovers

We’ve worked with some of the U.K.’s leading Black creators in music, film, and entertainment to help guide fans through some of our most popular playlists, which will be dedicated to Notting Hill Carnival for the long weekend event. Fans can enjoy:

  • Lockdown success story No Signal’s take on Who We Be, the U.K.’s biggest hip-hop, Afrobeat, dancehall and R&B playlist
  • The legendary Marleys, who will help fans jam along to One Love
  • Little Mix’s Leigh-Anne Pinnock’s compilation of tunes for Throwback Thursday
  • Everything from reggae legends to the new school as Koffee introduces our Irie playlist
  • Spice, the Jamaican dancehall artist and star of Love & Hip Hop: Atlanta’s Dancehall Queen takeover

Notting Hill Carnival sound systems

Our microsite also gives fans the chance to explore over 40 of the official Notting Hill Carnival sound systems (aka large DJ booths) and on-the-road DJs. Check in with King Tubby’s, Carnival’s oldest sound; Rampage Sound, one of Carnival’s most coveted spots, the prince of U.K. soca, Martin Jay; and even Carnival’s only all-female sound system, Seduction City Sound.

“Last year I celebrated 25 years of being the only female sound system in Carnival,” says Lady Banton of Seduction City Sound. “I’m a woman and a Black woman, and I’m proud to be a Black woman. I’m also a child of the Windrush generation, so we never forget. I thought, ‘What a relief I am here again.’”

Exclusive photo and film gallery from Ekua King

Just as the in-person Carnival has music and art to boot, so will the microsite, thanks to exclusive work from Ekua King. The renowned London-based photographer of Jamaican heritage who shoots for the likes of i-D, Paper, and Vogue, has created an exclusive photo and film gallery on the site. Check out her stunning portraiture of the over 40 sound systems and on-the-road DJs, whose stories come to life through her shots.

From South Africa to New York, Rapper Nasty C Is Making a Global Impact

Like many people these days, South African rapper Nasty C is hunkering down to stay safe. But even from the comfort of his home in Johannesburg, he keeps a tight schedule. 

“I’ve just been trying to keep busy, bro. Trying to make sure I stay on my toes and I don’t lose my creativity,” Nasty C tells For the Record. “It’s a very crucial moment in my career.” 

The emcee, born Nsikayesizwe David Ngcobo, has come a long way since he first started honing his mic skills as a 9-year-old growing up in the coastal city of Durban. After drawing attention from fellow South African artists like Cassper Nyovest and Tellaman and collaborating with stars from as far off as Nigeria and New York, he’s now poised to make a huge impact as he secures his place in front of a global hip-hop audience. 

Nasty credits Spotify for helping introduce his songs to new listeners around the world. He was one of the top-streamed artists on Spotify South Africa in 2019 and also features prominently on much-streamed playlists like Most Necessary and No Wahala.

“It’s life-changing. It’s just made it so much easier to connect with people outside our borders,” Nasty says. “It’s almost as if it shops your music around for you.”

In fact, Nasty just signed a deal with Def Jam Recordings, the pioneering New York hip-hop label that’s also home to artists like Big Sean and Kanye West. And in June, he dropped “They Don’t,” a heartfelt single about social justice featuring one of his childhood heroes, legendary Atlanta rapper T.I.

“T.I. is the reason I picked up a pen in the first place,” Nasty says. 

It was Nasty’s older brother who first taught him how to make beats and spit rhymes. Many South Africans are more familiar with kwaito, a local take on house music and hip-hop that first emerged in the 1990s. But Nasty was immediately enamored by the sound of American artists like Lil Wayne and Future. As he honed his flows and developed his voice, he also took inspiration from South African stars like AKA, who was integral in building a local English-language hip-hop scene in a country where many performers sing in South African languages. 

Nasty was only 15 when he dropped his first mixtape, 2013’s One Kid a Thousand Coffins. Soon he was attracting industry attention and building a fan base across the country. In 2015, he won the Best Freshman trophy at the South African Hip Hop Awards. Not long after, he got a message from Nigerian Afrobeats star Davido inviting him to contribute a verse to a dreamy hybrid of Afrobeats and trap titled Coolest Kid in Africa.” 

Now Nasty is preparing to drop his latest album, Zulu Man with Some Power. With appearances planned from prominent names like T.I. and No I.D. (who produced JAY-Z’s album 4:44), the album represents a major step onto the global stage. Joining the Def Jam roster, Nasty can’t help but feel honored by this recognition from the hip-hop establishment in the United States, where hip-hop first started.

Naturally, this forthcoming effort also gives Nasty the chance to show the world what South Africa—and South African hip-hop—is all about.

“Without hip-hop, I don’t know how I would’ve made it to where I am right here. It’s given me a voice. It’s given me confidence to speak on certain things, to speak for a generation,” he says. “It’s a big step—it’s like me coming of age.” 

Get the full Nasty C experience with Nasty C Radio and the Afro-Trap playlist No Wahala.

New Zealand’s CHAII Brings Persian Flair to Hip-Hop

Soon after migrating to New Zealand at age eight, the Iranian artist CHAII heard Eminem and felt “instantly hooked.” Three years later she was making music herself. Fast-forward to today, and her swaggering, pop-friendly hybrid of Western hip-hop and Persian musical touchstones is making a massive splash, leading her to being included in Spotify’s global emerging artist program, RADAR.

The program features artists from over 50 markets worldwide and helps performers at early stages of their careers broaden their fan bases. Awareness of the artists is built through Spotify’s social channels, RADAR playlists curated by Spotify’s editors, and bespoke marketing initiatives.

Originally from Ahwaz, Iran, CHAII paid tribute to the region with her debut single, 2019’s “South.” The song incorporates sounds from southern Iran, which is home to a deeply rhythmic style of traditional dance music called Bandari. This style of music combines Persian instruments like the tombak and daf with Afro-Cuban instruments like conga and talking drums. 

“It’s very inspiring, especially the drums and percussion in the 6/8 time signature,” CHAII tells For the Record. “Persians love dancing, and 6/8 gets you moving no matter where you are in the world.” She also credits modern classics from Persian artists like Googoosh and Siavash Ghomayshi for reminding her of her native country’s musical offerings during her rap-heavy teen years. 

Those mingling global influences inform her own music today: her breakthrough track “Digebasse” sees her rapping in both English and Farsi alongside an equally international guest in B Wise, an Australian rapper with Nigerian heritage.

“Rapping in Farsi came naturally for me,” she says. “It also helped me practice my native tongue. Incorporating traditional Persian music into the hip-hop world [has been] a very long but fun process. I’m still experimenting with it and feel I’ve only just scratched the surface.”

Her punchy, continent-jumping sound recalls the similarly worldly hip-hop of artists like M.I.A. and Tkay Maidza, especially on her new single “Lightswitch.” Produced by Frank Eliesa of the genre-bending New Zealand ensemble Yoko-Zuna, the song packs CHAII’s nonchalant lyrical takedown into a brisk three minutes of catchy hip-hop.

“‘Lightswitch’ reflects on my journey in music so far, working hard to get to every stage,” says CHAII. “Coming to the conclusion that you can’t please everyone and have to own what you do. To live with no regrets and be bold.” She also connects the song to some of the Iranian artists now based in Los Angeles who similarly have brought their country’s music to wider audiences. Like so many artists at the moment, CHAII watched her year’s plans dissipate somewhat in the wake of the pandemic. She was slated to make her debut at SXSW this year, for example, before the festival was cancelled due to COVID-19. Yet she remains upbeat, using this time to reflect and work ahead.

“I’m used to having to adapt to change, especially from being in the music industry,” she says. “Even though it’s a crazy time, I see it as a time to refocus and write more music. [And] to make a bigger and better show for when the time comes to resume our shows overseas.” 

For now, CHAII’s already considerable international reach will get a serious boost thanks to her inclusion in RADAR. “I was truly surprised to be chosen,” says CHAII. “It’s a partnership I’m hugely looking forward to. Spotify has been a big part of getting my music to a wider audience, regardless of not fitting [into any one] box. My music is an example and a reflection of cultures morphing, and I feel the world needs to see, hear, and experience more of that.”

Check out more of the artists selected for Spotify’s global RADAR program.

It’s RapCaviar’s Fifth Anniversary—Celebrate by Testing Your Hip-Hop Knowledge

Welcome to your It’s RapCaviar’s Fifth Anniversary—Celebrate by Testing Your Hip-Hop Knowledge

Who’s the youngest artist to appear on RapCaviar?
Which YBN Cordae song references RapCaviar and Most Necessary?
2 Chainz interviewed inventor Lonnie Johnson for RapCaviar Originals in 2019. What invention did they discuss?
Which was the first Roddy Ricch song to appear on RapCaviar?
Dreamville and Bankrol Hayden released a song with the same title five months apart. They were both featured in RapCaviar. Name the song.
In what city did the first RapCaviar Live concert take place, in 2017?
Which artist was not part of the second RapCaviar Pantheon in 2019?

 

 

‘Mogul’s’ Brandon Jenkins Pivots Into Hip-Hop Nostalgia With ‘Mogul Mixtapes’ Podcast

For Brandon “Jinx” Jenkins, there was never a time “where it wasn’t hip-hop.” The podcast host, journalist, and DJ credits the genre—and the culture that has come out of it—with giving him the space to be himself. Now he does the same for others across various multimedia projects, including the Gimlet podcast Mogul, a show about hip-hop’s most iconic moments, as told by the people who lived them.

Due to the current global events, production of Mogul was put on pause, but that didn’t stop Brandon or his team. They quickly came together (while apart) to produce The Mogul Mixtapes, a Mogul spinoff that goes deep with notable artists, journalists, and more on their favorite hip-hop memories, as well as their thoughts and goings-on in quarantine.

For the Record got on the phone with Brandon to learn more.

Berlin Hip-Hop Duo Hoe__mies Creates Space for Marginalized Voices with New Podcast ‘Realitäter*innen’

Photo credit © Marlen Stahlhuth

Gizem Adiyaman and Lúcia Luciano party for more than just a good time. In 2017, the German artists formed Hoe__mies, a hip-hop group known for hosting rousing get-togethers where female and queer artists could make a name for themselves in a space that had traditionally excluded them.

“We started our parties as a form of protest against a male-dominated hip-hop scene that placed women and queer people at the margins,” the pair told For the Record. “Before we started [DJing] in 2017, the line-ups very seldomly included female DJs, and if they did, it was mostly in the context of a lady’s night special.”

Now, this outspoken duo is amplifying marginalized voices in a different way—with their new Spotify original podcast, Realitäter*innen. Over the course of 12 initial episodes, Gizem and Lúcia will discuss the intricacies of socially relevant topics ranging from sexuality to principles of feminist thought. Plus, each episode will feature enlightening conversations with special guests from marginalized backgrounds.

The first two episodes of the German-language series, released on February 13, explore dating in 2020 and masculinity, respectively. The first, on dating, includes perspectives on polyamorous relationships. The second examines masculinity, mental health, and how racism affects the constructs of masculinity for black men and queer men of color. Later in the season, listeners can expect episodes dedicated to sex work as well as body positivity.

The pair took some learnings from their party hosting. Today, Gizem and Lúcia’s parties are inclusive environments where women, queer people, and people of color are represented at every level of the experience. They even enlisted an “Awareness Team” to ensure that guests feel safe and respected. But getting to this place wasn’t easy, they said. “It takes a lot of effort to identify and address everyone’s needs, but if you put in the work, people will actually show up and appreciate the space you’ve created for them.”

As for working with a new medium, Hoe__mies will always have an affinity for hip-hop, but the duo is excited for the possibilities that podcasting has to offer. “Music is a great vehicle to reach people, criticize oppressive structures, and spread your message,” they explained, “But with podcasting we can actually pass the mic and listen to other people’s perspectives. We hope that this podcast can foster an understanding and openness for different concepts of love, sex, and identity.”

Tune in every other week for a new episode of Gizem and Lúcia’s debut podcast Realitäter*innen.

From Humble Origins, German Rap Is Now a Dominant Commercial Force

Hip-hop has proven to be one of music’s most customizable and popular genres around the world, with both beats and bars that reflect the unique characteristics of an artist’s background. In this series, we’ll follow the genre around the world, showcasing how hip-hop has been brought to life in different regions, countries, and cultures.

In Germany, the summer of 2019 will go down in history as the tipping point for hip-hop. The genre (called “Deutschrap” at home) has been going strong since the early ’90s, but the past two years have seen it rise sharply to become a chart-dominating force, laying claim to no fewer than half of this past summer’s top 10 hits.

That newfound cultural currency isn’t limited to the charts: Spotify’s dedicated German hip-hop playlist Modus Mio has more than 1 million followers. A two-city live version of Modus Mio last year showcased the enthusiasm and camaraderie of today’s rising German rappers, with Nura (who released her colorful, confident debut solo album this year) memorably stage diving during pop-savvy headliner RIN’s set. She then collaborated onstage with both Jamaica-influenced MC Trettmann and rapper, singer, and multi-instrumentalist Bausa, whose slinky 2017 single “Was du Liebe nennst” stayed atop the German singles charts for eight straight weeks.

A second Modus Mio Live will come to Dortmund on December 14, assembling six of the top artists from the playlist: cloud-rap breakout Ufo361 (who has nearly 4 million monthly listeners), quicksilver female MC Juju, unflappable Deutschrap veteran Summer Cem, new-school gangsta rapper Azet, polished chart mainstay Apache 207, and the hard-bitten yet charismatic Kalim. The variety captured in that cross-section alone shows the healthy range of German hip-hop today.

The playlist’s success has also spawned a podcast, Vor der Mio, in which journalist and broadcaster Salwa Houmsi interviews some of Modus Mio’s most popular artists in the places where they grew up. Houmsi, a half-German, half-Syrian activist who also DJs, has interviewed Juju in Berlin-Neukӧlln, Summer Cem in Mönchengladbach, and the street rapper Olexesh in Kiev (among others) since launching the podcast in July.

The podcast’s premise is no accident: the different cities and specific neighborhoods where rappers came up are every bit as important to them as the wider cultural heritage of their families. Each urban district or regional town has its own vivid identity within German culture, and the bonds of friendship formed in those early days often stay strong across a lifetime.

Case in point: Rüsselsheim, in the country’s southwest, is a six-hour drive from Berlin yet provides a continuing source of inspiration to proud native MERO, who broke through with short social media videos before topping the German and Austrian charts with his 2018 debut single “Baller los.” “It’s always affected me a lot,” he says of his home city and, specifically, its Digger Busch district. “All [the] people I am on tour with today are from there. We grew up together as a family.” 

For Kalim, who raps often about daily life in his native patch of Hamburg, the creative impact of one’s longtime surroundings can’t be overstated. “My city influences my music very much,” he says, citing his home district as a great source of inspiration for his lyrics. “If I had grown up just one district [away], my music would not be the same today.”

When RIN, who headlined the first Modus Mio Live last year, was asked about the rap scene in his home city of Stuttgart in a 2017 interview, he said that the town’s lack of an existing scene left him and his collaborators to build their own from scratch. So even the would-be musical absences of a given place can have an empowering effect on a young or future rapper coming of age there.

That strong bond between rappers and where they come from also resonates with Germany’s large crop of artists of international origins. Turkish by heritage, MERO scored a hit this year with “Olabilir,” a track with Turkish and German lyrics. Likewise, Summer Cem’s 2018 track “Tamam Tamam” brandishes a few Turkish words in the hook.

Other artists with migrant backgrounds include German rapper Capital Bra, who pays homage to his Russian roots during the hook of the 2018 track “Berlin lebt.” There’s also Eno, a rapper of Kurdish descent, who calls back to his heritage musically on 2018’s “Cane Cane,” while Farid Bang musically embraces his Moroccan and Spanish heritage on this year’s “Maghreb Gang.”

“The German hip-hop sound that evolved over the last two years is a unique movement led by artists with [a migrant] background—similar to movements in Italy, the Netherlands, [and] France,” says Head of Music for Germany, Switzerland and Austria, Maik Pallasch. “It’s great to see the rise of all these artists, and particularly the spotlight put on the cultural variety in our society.”

Despite being from all over the world, most of today’s young German rappers perform primarily in German. “All the most-streamed hip-hop artists in Germany are rapping/singing in German,” says Maik. “It’s easier to explain yourself in your own language and transport what you mean and feel in your lyrics.” From there, they usually mix in their local dialect with choice slang terms to create songs that are bouncy melting pots for the ears.

The desire for these artists to both honor their roots and find inspiration in their current whereabouts makes sense. After all, from its birth in New York City’s Bronx four decades ago to its current mainstream clout in Germany, hip-hop has always hinged on rappers communicating who they are and where they’re from. Kalim underscores that idea by likening his work to long-lasting images, emphasizing that his creative evolution—like that of his Deutschrap peers—is by no means finished.

“The important task is to make snapshots timeless,” he says, reflecting on the working process behind his lyrical portraits of his own daily life in Germany. “That takes time, effort, and—above all—love of music. For me it’s a continuous process, and I am still evolving and learning.”

Fans around the world can check out Deutschrap on Spotify’s Modus Mio playlist.

How American Hip-Hop Culture Inspired Today’s Breakout Saudi Rappers

Hip-hop has proven to be one of music’s most customizable and popular genres around the world, with both beats and bars that reflect the unique characteristics of an artist’s background. In this series, we’ll follow the genre around the world, showcasing how hip-hop has been brought to life in different regions, countries, and cultures.

A major turning point in Saudi Arabia’s hip-hop culture came with 2007’s Hip Hop Na (“Our Hip-Hop”), a rap-centered talent search co-hosted by Saudi rapper Qusai Kheder, a.k.a. Qusai. The show lent an American Idol-esque accessibility to the region’s up-and-coming players, culminating in a grand finale in Dubai.

Hip Hop Na boosted the art of hip-hop majorly,” says Kheder, who’s been dubbed “The Godfather of Saudi Hip-Hop.” “It exposed and connected the talent around the region. It was the first flagship hip-hop show in the Middle East.”

Kheder, who discovered hip-hop through American rappers 2Pac and LL Cool J, has released three albums, as well as a wealth of singles and EPs. His 2009 track “Any Given Day” is an anthem of self-empowerment, with verses in English and the chorus in Arabic, as well as samples of traditional Arabian instrumentation. It’s also indicative of a wider trend in hip-hop from the Middle East: rappers expressing themselves in both Arabic and English, often mingling the two in a single track. 

The genre’s international angle has brought lots of overseas attention to Saudi hip-hop in the past few years. On Spotify, some of the artists have been included on playlists Urban Gulf and Arab Hip-Hop. Media heavyweights, such as Vogue have profiled rising Saudi artists like Majeed and weighed in at length on the evolving scene there.

While Hip Hop Na provided a sizable boost in awareness for artists, Saudi Arabia’s first hip-hop show on FM radiohosted by Hass Dennaoui, a.k.a. Big Hass—“Laish Hip-Hop?” (“Why Hip-Hop?”) helped develop a surrounding culture by combining new music with industry updates and personal discussions about the genre at large. The show exudes Dennaoui’s voracious appetite for different kinds of hip-hop, which makes it popular with people from all over the world. As for his own introduction to rap, Dennaoui says it came from the Notorious B.I.G. track “Juicy”— famous for its inspiring message about  hip-hop’s incredible power.

“Those lyrics impacted me in a great way,” Dennaoui recounts. “Back then my English wasn’t that good, but I remembered what I felt. His vibe, his flow got to me. [I started doing] my own research . . . and the rest was history.”

That’s a stark contrast from when Dennaoui started his radio show in 2011. “It took a lot of work from many people—rappers, producers, and rap lovers—to push forward,” he says. “When rappers started making music that was relevant to the people and also commercial, that broke lots of barriers. Rappers matured, producers started emerging on the scene, [and] people started to get the hang of what rap was.” Spotify has contributed to that push into the wider consciousness, he adds: “Spotify has offices in the region, [so they] can reach out to rappers on the ground.”

The same sentiment is echoed by young rapper Blvxb, who, like many Saudi rappers, blends Arabic and English lyrics; he calls on his first impression of hip-hop, 50 Cent’s American supergroup G-Unit, for inspiration. Aside from “Laish Hip Hop?” he says many commercial radio stations still won’t air shows featuring Saudi rap, which makes streaming all the more vital. 

“Spotify helps local artists to reach more [fans] by promoting more new artists,” he says. “Everyone loves and listens to Spotify’s playlists, even while gaming.”

Meanwhile, Bahrain’s Outlaw Productions has offered services ranging from music recording  to video production since its founding in 2003. One of the breakout artists in Outlaw’s stable is Lil Eazy, a rapper of Somalian heritage born and raised in the Saudi port city of Jeddah. He cites 2Pac’s “Ambitionz Az A Ridah” as one of the first tracks that drew him to the culture: “I gravitated towards hip-hop more than any other genre because of the music and the content.” While he agrees that hip-hop remains relatively new as a commercial format in the country, he and his team have done three major shows in Jeddah and Riyadh in the past year.

For Saudi business strategist Molham Krayem, who also performs and records as Molham, his introduction to hip-hop culture came with Eminem’s triumphant “ Lose Yourself.” Krayem, who is now based in both Saudi and UAE, launched a school-wide talent show during his senior year of high school that culminated in his first performance of an original song on stage. Krayem grew up in an Arabic-speaking household in Canada, which makes it natural for him to rap in a combination of English and Arabic.

“They are both my native languages,” he says. “That’s how I naturally speak, and I want my music to express my truest self. [It’s] similar to the appeal of combining Spanish and English nowadays: it blends cultures. It also allows me to connect more deeply with the millions of people—especially third-culture kids—around the world who speak both Arabic and English.”

Alongside the rapid changes to culture and infrastructure that Krayem has observed, Saudi Arabia is overflowing with a new generation of artists just starting to make a name for themselves. Hass Dennaoui cites Lil Eazy, MT9, and underground star Shiboba as ones to watch, as well as female rapper Moon, whose self-titled 2019 EP marries her slow, hypnotic trap bent with almost psychedelic production.

As for Qusai Kheder, whose role cohosting Hip Hop Na still stands as a pivotal moment for hip-hop culture in the region, he sees no slowing down for Saudi rappers. “If they take this art seriously and are smart about it,” he says, “the sky’s the limit.”

Fans around the world can check out hip-hop from Saudi Arabia and beyond on Spotify’s Arab Hip-Hop playlist.

Spotify Celebrates Australian and New Zealand Hip-Hop with A1 Live

Australia and New Zealand have firmly taken their place in the global hip-hop story. The scene was on a slow burn in the ’90s, fueled only by small underground artists catching fire locally. Then in the 2000’s, pioneering artists like Hilltop Hoods and Thundamentals brought the genre onto the global stage. Thanks to that base, today’s talents have kept pace with shifts in hip-hop around the world while also surfacing themes and sounds that are unique to Australia and New Zealand. 

You can get to know this growing movement on Spotify with our flagship playlist, A1 Hip-Hop, as well as through The Drip, Beats n Bars, All Aussie Hip-Hop and Mellow Styles. Plus, join in on the celebration of the Australian and New Zealand hip-hop scene in person with our landmark A1 Hip-Hop live event on November 7 at the Metro Theatre in Sydney.

Live the Playlist IRL

The A1 Live concert will showcase the two countries’ top breakthrough hip-hop talent, bringing Spotify’s A1 Hip-Hop playlist to the stage for the first time.The free 18+ event is inspired by the hottest beats from Australian, New Zealand and International artists and brings the sound to more than 280,000 followers. Some of the local luminaries slated to perform are Manu Crooks, Triple One, Kwame, JessB, Sophiegrophy, and Hooligan Hefs. Register to win tickets here.

“To be able to bring an off-platform experience that heroes and celebrates the importance of homegrown talent is something we are beyond excited about,” says Peter Stevens, Senior Music Editor at Spotify Australia & New Zealand. “With world-class artists breaking through locally and stepping up to show they have their place in the global hip-hop story, hip-hop in Australia and New Zealand has never been healthier. A1 has become a home for local audiences to hear these artists sitting among fellow luminaries from the US, UK, and beyond.”    

Here’s a closer look at the live line-up of rising stars performing at A1 Live.

Four-member Sydney rap crew Triple One displays a defiant blend of brash bars and melodic hooks. With followers from the Harbour City all the way to Chicago, the Inner West supergroup racked up more than 5 million streams with its recent track Butter.” 

Manu Crooks, a Ghanaian-Australian rapper from the western suburbs of Sydney brings a futuristic global sound that matches his international hip-hop style. Thanks to his popular B Wise collabThrow It Back,” and hit “Fuego,” he’s amassed 10 million streams.

Kwame is a versatile MC who shared the same church pew as Manu Crooks when they were kids in Sydney. He burst onto the global hip-hop scene with his summer anthem WOW” from a second EP Endless Conversations, which has more than 6 million streams so far. The rapper and producer has a huge following at home in Australia, and he’s now catching on in New York City, Chicago, Atlanta, Philadelphia and Los Angeles.  

Also heating up the A1 Live stage is rapper JessB. Debuting out of Auckland, New Zealand, in 2017, the recent commercial and alternative radio favorite made quick work of accumulating nearly 2 million streams. Her EP Bloom was released to acclaim in 2018, followed by her second album, New Views, which has more than 1.5 million streams. 

Rounding out the A1 line-up is Hooligan Hefs, a Southwest Sydney-based Samoan-Chinese emcee whose genre-melting sounds mashup EDM, dubstep, techno and rap. The Doonside native clocked more than 2 million streams right from the get-go with the release of his debut single The Party.” 

Nigerian-born, New Zealand-raised rapper Sophiegrophy rocketed into the spotlight in 2017 with the debut of her no-holds-barred DIY indie mix tape. With catchy cuts like Rolls Royce” and Fa$t Lifeand “Bag,” the Brisbane-based artist is attracting fans far from Down Under in American hip-hop hotbeds like Los Angeles and Chicago.  

For your chance to win tickets to A1 Live, register your details here and tell us who your favorite A1 Live artist is—and why—in 25 words or less. And for all the latest essentials in hip-hop, check out Spotify’s A1 Hip-Hop playlist: 

Meet Rich Brian, the Indonesian Rapper Performing at Spotify On Stage Jakarta

Jakarta music lovers, leave your headphones at home. On October 4, Spotify On Stage, Spotify’s premier live concert series, will be back and bigger than ever in the Indonesian capital for an immersive, electrifying live event. 

In a one-night-only experience at Jakarta International Expo Hall (JIExpo), three of the world’s hottest artists — rapper Rich Brian and K-Pop sensations (G)I-DLE and ATEEZ — and local superstars Arsy Widianto, Brisia Jodie, Marion Jola, and Rizky Febian will be coming together onstage at Spotify On Stage Indonesia. Together, these artists have a combined 15 million monthly listeners on Spotify, though how the numbers might shift after a night of musical discovery is anyone’s guess.

Rich Brian has only just turned 20 and he’s already the most-streamed hip-hop artist on Spotify in Indonesia. This means he’s also one of the biggest international stars hailing from Asia.

Besides gearing up to perform at the concert, Rich Brian also recently partnered with Spotify for an interactive showcase in Jakarta to celebrate the launch of his new album, The Sailor. The Sailor Experience exhibition took Rich Brian fans through an immersive journey into the mind of the hip-hop star, giving a unique insight into the influences and memories behind the album. The exhibition also featured a screening of Rich Brian’s cinematic debut, Rich Brian Is The Sailor (A Short Film), accompanied by exclusive audio commentary by critically acclaimed director Sing J Lee. Check out the video recap from the entire event below. 

https://www.facebook.com/SpotifyID/videos/2378984662157093/

 

We sat down with Rich Brian  after his event to get to know him a bit. Like many other stars growing up in the age of the internet, Rich Brian has spent a lot of time searching the web for the secrets of success. He especially loves trolling fans on Twitter and really wants to get into acting. We also discussed his excitement about recording his latest album and checked in leading up to his Spotify On Stage performance.

You’re originally from Indonesia but you’re now living in LA. How has living internationally influenced your sound, process, or attitude? 

A lot of things influence my sound, from listening to traditional Indonesian music, to the stuff I listened to while spending full days on the internet making videos. Living internationally definitely influenced my attitude towards everything positively. I’m very grateful for everything that I have now and things just never get old for me—each new experience feels like a blessing.

How was the experience of collaborating with big names like RZA and Bekon on your sophomore album? You grew up listening to Wu-Tang Clan and Kendrick Lamar—how does it feel to be working with their producers?

Working with them was insane. Bekon and the whole crew and I were locked in the studio for months—I felt so close to everybody at that point. I kept forgetting how insanely talented everybody is and how lucky I was to be in the same room with those guys. RZA was just another level—the day he came to the studio was memorable for all of us. He was so nice. Seeing him just do his thing and kill it in a room full of people he’d just met that day was very inspiring. 

The Sailor definitely has a different sound from 2018’s Amen and your earlier music. What was your inspiration behind this more experimental album?

Making this album, I tried not to care about what’s currently trending or what’s relevant, but instead made what I personally think sounds good. I care less now about the amount of listeners, and more on the impact it’s made on the people who do listen.

You talk a lot about your youth and accomplishments on the track “Kids.” What do you see as your role for inspiring other young creatives, especially young Asians?

I’m just here doing my thing, doing what I love to do and making what I love to make. My only purpose is to show other people that it’s all possible. I live for those moments where someone tells me that they quit music, and when they saw me doing it they wanted to pick up the guitar again. It’s what keeps me going. 

How do you feel about performing live at the Spotify On Stage Indonesia concert?

I’m super pumped to do a show here again, I feel like this is gonna be a pretty crazy one.

Check out Rich Brian’s newest full-length album, The Sailor, featuring RZA and Bekon.