Burgeoning Memphis star Key Glock has had an eventful 2022, touring to promote his Yellow Tape 2 project and appearing alongside Megan Thee Stallion on “Ungrateful” from her new album Traumazine. The PRE rapper, who has been “maintaining” since the death of his mentor Young Dolph, looks to keep that momentum going in 2023, announcing the dates for his upcoming Glockoma Tour presented by SiriusXM and produced by Live Nation.
The run will include 31 dates with support from fellow Memphian Big Scarr. Tickets go on sale Friday, December 9 and 10 am local time. You can find more information here. See below for the dates and venues.
3/5 – Atlanta, GA @ Coca-Cola Roxy
3/9 – North Myrtle Beach, SC @ House of Blues
3/10 – Charlotte, NC @ The Fillmore Charlotte
3/11 – Raleigh, NC @ The Ritz
3/12 – Greensboro, NC @ Piedmont Hall
3/15 – Philadelphia, PA @ The Fillmore Philadelphia
3/16 – Washington, DC @ Echostage
3/18 – Queens, NY @ The Knockdown Center
3/19 – Boston, MA @ Big Night Live
3/22 – Cincinnati, OH @ The Andrew J Brady Music Center
3/23 – Cleveland, OH @ House of Blues
3/24 – Louisville, KY @ Mercury Ballroom
3/25 – Indianapolis, IN @ Egyptian Room at Old National Centre
3/26 – Detroit, MI @ Saint Andrew’s Hall
3/29 – Chicago, IL @ Radius
3/30 – Kansas City, MO @ Uptown Theater
3/31 – Minneapolis, MN @ The Fillmore Minneapolis
4/2 – Denver, CO @ Fillmore Auditorium
4/4 – Salt Lake City, UT @ The Complex
4/6 – Seattle, WA @ Showbox SoDo*
4/8 – Portland, OR @ Roseland Theater
4/11 – San Francisco, CA @ The Fillmore
4/14 – San Diego, CA @ SOMA
4/15 – Los Angeles, CA @ Hollywood Palladium
4/16 – Phoenix, AZ @ The Van Buren
4/21 – San Antonio, TX @ The Aztec Theater
4/22 – Houston, TX @ Bayou Music Center
4/23 – Dallas, TX @ South Side Ballroom
4/26 – New Orleans, LA @ The Fillmore New Orleans
4/27 – Birmingham, AL @ Avondale Brewing Company
4/28 – Nashville, TN @ Marathon Music Works
*Not A Live Nation Date
Big Scarr is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Still hot off the release of her sophomore album, Traumazine, Megan Thee Stallion has dropped the visual for one of the album’s standout tracks, “Ungrateful.”
In the Collin Tilley-directed video for the Key Glock-featuring track, Megan is seen getting out of bed and donning lingerie before she dresses for a funeral. She arrives at the ceremony dressed to the nines in a lovely black dress. As the deceased is being buried, she is then seen in a lavish white dress with a matching large hat.
Though it is unclear who the funeral is for, it’s likely one of the “fake-ass, snake-ass, backstabbin’, hatin’-ass, no money gettin’-ass b*tches,” about whom she raps on the song.
While Megan has coined iconic phrases like “hot girl summer,” by way of her alter egos, she shared in an interview with New York Magazine, that Traumazaine is pure, unfiltered Meg.
“My alter egos have been people that I had to be at those times to be like my armor, like my shield,” she said. “I had to be Hot Girl Meg at that time. I had to be Tina Snow at that time. I had to be Megan Thee Stallion at that time. I love this album because I feel like it’s just me talking. It’s just Megan. It’s not me having to be anybody else.”
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Fall is in the air, which might explain the slim pickings today. Slim as they are, they are offerings from fan favorites, tested banger makers, and music that fits more than one mood. This week’s heat includes Offset’s “5 4 3 2 1,” Fivio Foreign’s “London Freestyle,” and Chief Keef’s vocals on “Chief So.” So, […]
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
In the lead-up to her second album Traumazine, Megan Thee Stallion repeatedly noted that it had more emotionally-charged themes and greater vulnerability than her debut, Good News. In a June interview with Rolling Stone, she said, “I want to take you through so many different emotions. At first you was twerking, now you might be crying.”
She reiterated the sentiment in an August Q&A session on Twitter. “I wrote this album for myself,” she admitted. “I wanted to start writing in a journal but I said f*ck it I’ll put it in a song.” She also confessed that “saying certain things you’ve never said out loud before is hard.” Fans understandably presumed that this meant the Houston rapper would address the various public misfortunes that had befallen her since her Tina Snow EP rocketed her to stardom.
Traumazine delivers on Megan’s promises, but it doesn’t stray too far from her established formula. Production-wise, it runs the gamut from Thee Stallion’s preferred speaker knocking Texas trap to a very on-trend detour into Miami Bass and house, while lyrically, Megan returns to the rapid-fire freestyle form that first impressed her fans, peers, and early mentor Q-Tip. The newer, more confessional attitude peppers her hard-hitting, boastful verses with lines that hide the hurt behind defiant bluster.
On songs like “Not Nice,” Megan’s gift for storytelling comes to the fore. “I kept your bills paid. You were sick, I paid for surgery,” she reminds a disloyal acquaintance. “But I pray you boo-hoo, do me wrong, where they deserve to be.” The specificity of her examples lends weight to her jabs – for every verbal right cross, someone has crossed her. Meg’s also unafraid to drop the facade of the tough-girl rapper and bluntly state a long-standing issue. On “Anxiety,” she wishes she could “write a letter to Heaven” so she can “tell my mama that I shoulda been listenin’.” I just wan’ talk to somebody that get me,” she accepts.
But even with the more vulnerable material here, Meg shines brightest when she sticks to the brash, explicit material that defines breakout hits like “Big Ole Freak” and “WAP.” “Ms. Nasty,” which pairs a thumping bass kick with an ‘80s R&B melody, offers another worthwhile inclusion to this tradition, opening with the straightforward come-on “I want you to dog this cat out, whip it like a trap house / Stand up in that pussy, stomp the yard like a frat house.” “Pressurelicious” with Future and “Budgets” with Latto match this energy, the latter pairing working best. We need more songs with these two together.
Other guests include Rico Nasty, with whom Meg displays incredible chemistry on “Scary,” Key Glock, who gifts her a suitably spiteful verse on “Ungrateful,” and Pooh Shiesty, who makes fans feel his absence from the spotlight (he’s currently locked up on a gun charge, facing a eight-year sentence) on “Who Me.” There are also contributions from R&B singers Jhene Aiko and Lucky Daye, which have the unfortunate side effect of highlighting the weaknesses of Meg’s own singing voice. She’s at her best spitting bruising bars with her gruff Texas twang as she does alongside her Lone Star compatriots on “Southside Royalty Freestyle”; when she tries to croon her own choruses, the effect feels raw and unpolished — and not in a good way.
The pop swings are also hit-and-miss. While “Her” fits in among the Beyonce-inspired post-Renaissance wave of future ball favorites, “Sweetest Pie” with Dua Lipa sounds like Meg chasing the success of peers like Doja Cat. This misunderstands what listeners want from the two artists. Meg wins because of tracks like “Gift & Curse,” “Who Me,” and “Scary.” Give her a lush, groovy soul sample and an 808 to vent her frustrations over, you get the verses on “Flip Flop.” These are the kinds of songs at which Meg excels. The added emotional depth is a bonus, adding relatability to her aspirational boldness. This will be the formula for Meg’s future success.
Traumazine is out now on 1501 Certified/300 Entertainment. Get it here.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
