Dom Kennedy has released the visuals for “Corsa”, produced by Hit-Boy and directed by Razak Ologunebi. Rapper Dom Kennedy has teamed up with super-producer Hit-Boy for the new “Corsa” video, directed by Razak Ologunebi. The song will fully drop next Friday on streaming platforms on June 17th. The video has Hit-Boy and Dom showing their […]
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Dom Kennedy is back, bringing former Drake co-writer Quentin Miller along in the new video for “Don’t Walk Away.” The West Coast summertime stalwart returned with a smooth new album of low-key luxury lifestyle lyrics, From The Westside With Love Three. As usual, Hit-Boy provides production, sampling the 2000 DJ Quik and Sugafree single “Don’t Walk Away” for a mellow, breezy jam over which Dom and Quentin brag about their accomplishments and possessions.
The video finds the two rappers throwing a laid-back get-together after-hours at Honey’s Kettle Chicken in LA (which I will never forgive for moving out of my beloved Compton). As some lady friends hang out, dance, and eat in the front of the shop, the fellas convene for a private card game at a secondary location. Dom also shows off his Porsche collection outside a garage, soaking up the LA sunshine.
Kennedy has experienced something of a resurgence in recent years, regaining momentum from his Yellow Tape era thanks to his partnership with Hit-Boy. From The Westside Three is his third album in as many years, and on each, he’s sounded revitalized, rapping with fervor and grace we haven’t heard from him in nearly a decade. Wherever this new burst of inspiration came from, let’s all hope it remains consistent because the blog-era favorite deserves this success.
Watch Dom Kennedy’s breezy “Don’t Walk Away” video with Quentin Miller above.
From The Westside With Love Three is out now via The OPM Company. Get it here.
Somehow or another, a whole summer has gone by with barely a peep from LA warm weather icon Dom Kennedy. However, it looks like he might be setting his sights on windbreaker season, announcing the impending release of the third installment of his fan-favorite album series, From The Westside With Love, on October 15. To solidify his return to the projects that made him such a staple of Golden State house parties and ocean drives, he has dropped the first single, “Rollin Papers.”
In typical Dom Kennedy fashion, “Rollin Papers” features a mellow beat that invites top-down, seat-back, afternoon cruising paired with his laid-back, descriptive rhymes, complete with all the forcefully-enunciated “r” sounds you could ever hope for.
The past five years or so have seen a string of consistent releases from Dom, including his Half-A-Mil pairings with Hit-Boy, but enthusiasm for new Dom Kennedy music hit new highs this summer, partially as a result of a 2020 that saw him tapped by both New York rap legend Nas on “City On Lock” and rising Los Angeles R&B star Blxst for “Got It All.” With his years of consistency finally receiving some recognition, it looks like his persistence — and fans’ patience — will pay off with the return to the Westside Love revolution we’ve all been waiting for.
Listen to “Rollin Papers” above.
I previously wrote about the return of touring for Uproxx’s fall preview of the most anticipated tours in hip-hop. But talking ain’t doing, and I had to get back out there myself after a year away. What I discovered in doing so? We are all a little rusty — artists and fans, both.
But, if you’re going to be a little rusty, Blxst has the blueprint for blowing past those first awkward speed bumps and putting on one hell of a show. Wednesday night at The Observatory in Santa Ana, the local rising star provided a pitch-perfect example for how to return from hiatus, even if you never really got a chance to tour in the first place.
That informed part of my reasoning for choosing Blxst as my own return show. Uproxx was high on the guy since even before the release of his fan-favorite EP, No Love Lost (which is also the title of his current tour — check out his UPROXX Sessions performance). Then, he was chosen as one of XXL‘s 2021 Freshman Class, causing his hype to skyrocket. Yet, even after all that, none of us has ever gotten to see him in tour context because his entire breakthrough happened during a global pandemic that basically shut down the industry.
So, of course, I had to make sure he’s the real deal. But also, going to shows can be overwhelming from the other side too. The Observatory has been pretty trusty for me over the years thanks to its out-of-the-way location (no Hollywood hustle and bustle), relatively cozy floor arrangement (I know my spots to get a good view without getting stepped on), and cheap drinks. I thought it’d be relatively easier to slip back into a groove somewhere I’ve been catching shows since even before it was my job.
That rust, though. For the first time, I actually had anxiety about getting to the venue late (I hate standing in line, so my tendency is to arrive right before the show starts in earnest), what I was going to wear (resolved by my old man tendency to just wear sweats to everything but weddings), and the whole entry rigamarole. I forgot my earplugs. I remembered to bring cash for parking. I give myself a cautious 7/10.
Blxst, meanwhile, saw some room for improvement right at the start of his set, as fans were treated to the sight of a roadie’s desktop while they struggled to switch backdrops from the opener’s simple static graphic to Blxst’s animated reel. However, the mishap may have illustrated Blxst’s greatest strength. While all this was going on behind him, he was actually performing his first song. I don’t think a whole bunch of people noticed the backdrop because the performer himself is so magnetic.
One thing that helped his stellar performance was the fact that No Love Lost is chock full of absolute slappers. “Overrated” got a huge pop, as did “Be Alone,” “Gang Slide,” and “Just Say’n.” He also peppered in joints from his and Bino Rideaux’s joint project Sixtape 2, and some of his more popular features with local acts like 1TakeJay and Kalan.FrFr, both of whom popped out to perform along with him. However, the crowd absolutely roared when Sacramento spitter Mozzy and LA summertime sovereign Dom Kennedy showed up to perform their songs with Blxst (Bino is on his own tour, and more than once I overheard a fellow attendee wish aloud for him to make an appearance).
Another tip for artists preparing to pop out: it helps to launch your tour with a rowdy local show. The young crowd — think early-20s, college-age kids, although The Observatory is an all-ages crowd (always get the mid-week show if you can) — was in his pocket from the jump. We’ve all spent months hearing his music at house parties, on our work/study playlists, and at local mainstays like the Drew League. On some songs, it almost seemed the crowd was doing all the singing for Blxst, although he and his talented backup singer were very impressive.
It’s clear that Blxst has spent time honing his live show, even if he couldn’t actually perform it for anyone yet. And that might be the biggest takeaway from his blueprint: use the time you have to perfect the craft of performing. While it seems a lot of artists throw together a setlist and head out, the long hiatus has, I believe, left fans hungry for more. Honestly, they deserve more. Before the pandemic, my last concert was an absolute yawner simply because it didn’t seem like the artists themselves felt like performing for fans was special. They’d taken it for granted. Blxst, who never got the chance to sing for an appreciative crowd, never did. He made it feel special for all of us — the artist and fans, both.
