While a lot of the ongoing celebrations of the 50th anniversary of hip-hop have focused on where hip-hop has been, it doesn’t make much sense to focus only on the past. No Hip-Hop 50 celebration should be considered complete without taking a look at where hip-hop is going.
As The Notorious B.I.G. once pointed out, no one could have seen where rap music and hip-hop culture would have ended up at the outset, but in the same vein, even he couldn’t have seen how things would turn out 30 years after he recorded “Juicy.”
That makes it a fun and unique challenge – it’s impossible to predict where hip-hop could be in another five years, let alone fifty. Still, if these young rising stars have anything to say about it, the genre should be in great hands.
Here are 10 rising rappers who have the potential to dictate what hip-hop could look like in the future.
Cash Cobain
Rap fans have often been ambivalent about embracing the avant garde. For every Young Thug who blows up, there are a dozen rappers with squeaky or slurred voices who never gain traction among hip-hop heads, who can be as fickle as they are loyal. But when they do decide that they love a new artist with an original ken, they can be as devoted as they once were skeptical.
Cash Cobain is one of those artists who has a chance to go either way. The self-declared “sample God” of New York drill, the Queens native has a flow that is slippery in ways we haven’t heard from trap rappers who have earned the same descriptor. His unabashed pillaging of millennial R&B hits certainly makes him more likely to earn fans than foes, and even if he never hits it big in the traditional sense, his style is guaranteed to influence someone who does.
Central Cee
As much as stateside rap heads have held the UK’s grime and drill artists at an arm’s length in the past, that reticence to embrace hip-hop’s extended family from across the pond has slowly eroded in recent years. Part of this may be due to the clever backdoor those cousins have utilized; drill production, which originated in London’s underground rave scene, is now a familiar fixture on the streets of New York.
Be that as it may, Central Cee doesn’t water down or hide his Shepherd’s Bush, London origins or influences. And while he hasn’t crossed over to US radio, those in the know have accepted him as the future of the British rap regime. It helps that he’s closely associated with a prior favorite in Dave, with whom he collaborated on an EP, Split Decision, earlier this year. It was well received, with its single “Sprinter” peaking at No. 1 on the UK charts. And just in case there was any doubt about his viability with a Yankee audience, he’s got that coveted Drake co-sign via his “On The Radar” featuring The Boy himself.
Chris Patrick
An indie rapper who doesn’t sound like an indie rapper, East Orange, New Jersey’s Chris Patrick has gained a small but extremely vocal following blending the sort of cerebral rhymes commonly associated with artists on the independent scene with thumping, anthemic beats that wouldn’t sound out-of-place in a crowded club or blasting out of car stereos on a sweltering summer day.
Patrick’s 2022 album X-Files is much like its namesake; it started out a cult favorite, but now, a wider audience is curious to see what all the fuss is about. Patrick’s next project will undoubtedly have a larger impact, proving that there are more directions that independent rappers can still go.
Flyana Boss
In Uproxx’s profile of the viral sensation rap duo, group member Bobbi LaNea asserted that they are “paying tribute to what hip-hop truly is.” Their clever use of nursery rhymes in their lyrics harkens back to Run-DMC’s use of the old “Peter Piper” tongue twister, and Flyana’s back-and-forth flow recalls the intricate routines employed by classic pioneers like the Furious Five and Beastie Boys.
Though Flyana Boss burst onto our timelines with the splashy social smash “Miss Me,” they are no one-hit wonders. They have a solid discography that proves that the well of ideas runs deep – but past that, their lasting legacy will be kicking open the door for future “weird Black girls” to express themselves through hip-hop in unconventional ways. Whether that’s wearing elf ears, name-checking Kanekalon, or just being willing to cause a commotion in the local convenience store, there’s value in what they’ve already done.
Kenny Mason
Rap and rock go hand-in-hand. From “Walk This Way” to Collision Course, the shared rebellious spirit of the two in-your-face genres has made magic throughout the past five decades. And sure, there have been some missteps – nu-metal, anyone? – but in recent years, the covalent bond between rap and rock has generated some truly compelling combinations courtesy of acts like Rico Nasty and Trippie Redd.
Kenny Mason’s music, on the surface, seems to stem from that tradition, but shot through with an undercurrent of indie sleaze – the sort of shoegaze-y, fuzzed-out rock that took over pop culture throughout the late aughts. Mason is equally comfortable collaborating with festival rap faves like Denzel Curry and JID as he is imbuing his output with the alt-rock vibes of My Bloody Valentine and the Yeah Yeah Yeahs.
LaRussell
There’s been a lot of talk lately about how crowded and repetitive festival lineups have gotten. With so many events in the space and only so many rappers around with the sorts of followings that justify their placement, it stands to reason that a lot of the same names have been popping up on many different rosters.
LaRussell, who hails from Vallejo (just like fellow indie rap pioneer E-40), could easily be a standout of one of those lineups. Instead, he’s more likely to pull up in your neighbor’s backyard to play a show for a few dozen folks at a time. His backyard tour concept is just one of the innovative spins he’s putting on the independent rap hustle. He’s kept up a steady stream of self-released projects and singles, punctuated by semi-regular appearances on your favorite radio freestyle shows. He’s perking up a lot of eyes and ears, proving that there are alternatives to same-old-same.
Lady London
If you’ve ever found yourself complaining about the prevalence of so-called “pussy rap” among today’s flourishing cadre of female rappers… Well, first of all, stick a sock in it. That complaint’s old, dusty, dried-up, and overdone, in addition to being terminally untrue. Today’s buffet of talents offers such a wide range of voices and styles that whining about a bare handful of modern rap artists – especially when they’re nothing compared to some of the genre’s pioneers – is a waste of your own time, in addition to being pretty annoying to everybody else.
But, it also makes it obvious that you haven’t been looking for alternatives like Lady London, who has recently received co-signs from the likes of Ciara, who tapped her for the remix of “Da Girls” with Lola Brooke. She’s exactly the sort of lyrics-focused MC that critics of female rappers say they want, and she’s only getting more popular by the day. She’s the proof that there are plenty of bars-first women in rap, and she’s kicking open the door for more to follow.
Luh Tyler
He’s been called the coolest teen in hip-hop, but Tyler’s success portends something larger. For years, hip-hop was all about cool; rappers exaggerated their fashion sensibilities, material possessions, and successes with the opposite sex first and foremost. Somewhere along the way, it became more important to have a good story; “keeping it real” was paramount, but only so long as “keeping it real” meant “keeping it gangsta” or baring some gut-wrenching trauma.
Luh Tyler is too busy talking to girls and telling you about his income for all that. And while that’s not exactly new, the way he does it, with laid-back panache and subtly clever lyricism, is refreshing. He doesn’t try to impress you, so he does. With that as his calling card, he’s helping swing the pendulum back the other way. Think of him as a Larry June for the zoomer set.
Ray Vaughn
For a decade, Top Dawg Entertainment felt like the premier hip-hop label thanks to its core artists, which included Ab-Soul, Jay Rock, Schoolboy Q, and of course, Kendrick Lamar. But lately, that core has been less visible than ever as it feels a little bit like Jay and Q have lost interest in music and Kendrick has moved on from the label. Sure, the remaining members are still working on new music, but it’s been a long time coming, and the label could use some fresh blood to energize the buzz around itself.
Enter Long Beach’s Ray Vaughn, who brings a level of passion and hunger to the same sort of street-centric, philosophical music the original TDE roster was known for. But while they were enamored of lo-fi, moody production that highlighted the heady material, Vaughn emphasizes energetic street bangers – exactly the sort of sounds needed to revitalize and anchor TDE as it enters its new era with a fresh cast including Doechii, Zacari, and Reason.
Yes, “FreakyT,” the breakout single from North Carolina rapper TiaCorine, is representative of the Winston-Salem native’s talents. But that’s not all she has to offer. Thanks to a colorful presentation – like a lot of today’s young talents, she counts anime as foundational to her artistic identity – she’s got an eye-catching style that makes her impossible to overlook. But past that, she’s got a wide variety of approaches, as demonstrated on her 2022 mixtape I Can’t Wait.
The diversity of style she embraces is very emblematic of her generation. From the video game-glitch-hop to pop rock to dreamy pop, she’s willing to try anything – and she sounds great doing it. There will soon be more artists like TiaCorine than not, as hip-hop kids continue to embrace the breadth of popular culture and weird internet movements, incorporating them into rap standards and transforming both sides of the equation.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
When I listened to “Famous,” the opening track off DDG’s latest EP release, Maybe It’s Me, for the first time, it felt like reading the artist’s diary. The first lines left me feeling like I shouldn’t know any of this — but I couldn’t put it down.
In “Famous,” the Pontiac, Michigan rapper describes being insecure about his relationship with his girlfriend Halle Bailey. He raps, “The hardest thing I ever did was fall in love with a famous b*tch,” exposing the feelings of jealousy that he felt while she was promoting her film The Little Mermaid, and shares some of his fleeting thoughts of sabotage. While some folks would take those secrets to the grave (the backlash he’s receiving showing exactly why), he’s taking the toxic vulnerability path of Drake and Future. The overall arching theme of Maybe It’s Me is DDG embracing being the villain.
“I feel like my last project is basically, me going from playing the victim to me being the villain,” DDG told Uproxx the day of the EP’s release. “Accepting the role as a villain.” In an interview with DDG as he shopped for jewelry on Rodeo Drive, the controversial rapper detailed his TikTok-favorite single “I’m Geekin” and the controversy surrounding “Famous.”
Why do you think that people have started to not like you?
I honestly don’t know, to be honest.
Is it surprising for you?
To be real. It used to be, but now it’s kind of whatever, it is what it is. It’s just the internet. I see a lot of artists get hated on.
When I first heard “Famous,” the first thing I wanted to know was if Halle heard it before you put it out.
Yeah, she heard it.
She was okay with you putting it on the project?
Yeah. It’s just music. Sometimes I exaggerate situations purposely for the sake of the song. I think I’m going to just stop trolling. They can’t handle my humor, so I’m gonna just chill, drop music, and let it ride out.
You recently mentioned in a vlog how you wanted to start taking music more seriously and stop making the kind of videos you’re known for and on “Hard On Myself” you say: “Doin’ videos on the ‘net, but I’d rather just rap / One day, I’ma take that leap of faith and just focus on that.”
What’s holding you back from taking that leap of faith, outside the YouTube money?
It is just like – that’s how a lot of people might fall off in a way. They try to abandon what they are, where they got solid, for something that could work out or couldn’t. But, I just really want to do music. I’m just passionate about it. I ain’t tripping on no money or no shit. I just want to see how far I can do the music stuff.
I also want to also talk about the sound of the project because some of the songs like “Rizz” and “Rambo” sound like the early SoundCloud rap era. Is that what you were going for?
Nah, I wouldn’t say that vibe. I’d say I just got a few songs that are more specifically for performance. Then I got some songs that are more experimental, like the “Famous” song. It’s like a UK garage/hip-hop beat — a new sound that I was trying out. You got the slow joints, but the ones that were hyped are for performance.
“Hard on Myself” is nice. What made you record a song like that? Do you have more songs like that?
I don’t. That’s the only song I made like that. That’s where I feel like I am seeing what people like. They like that intellectual, lyrical, slow melody vibe. I feel like since the wintertime coming up I need to get something out for that time. I’m just locking in on that sound.
Since the internet jokes that they can’t name five DDG songs, what are five songs people should add to their playlist to get to know who you are musically?
I would say “I’m Geekin,” “Treat Me Right,” “Stay in My Circle,” “Impatient” and “Elon Musk.”
Tell me what it was like when you linked up with Luh Tyler for the first “I’m Geekin” remix.
That was lit. He’s a cool dude. It was dope. Good vibes. We got in the studio before. He hit me up to hop on the remix and sent me his verse back ASAP. It was like two days.
How did the “I’m Geekin” remix with Bia and NLE Choppa happen?
Choppa told me he wanted to get on it and then my A&R sent it to Bia. But, we are all cool though.
When Lady Gaga posted a TikTok to “I’m Geekin,” was that expected?
No, that was definitely the most unexpected thing.
You have a tweet that says female rappers are winning. Which five are you checking for right now?
I’d say Bia, Cardi B, Latto, Coi Leray, and Nicki Minaj.
Considering the song “Pioneer” and your journey so far, would you say you are creating your own kind of blueprint?
Yeah, I would say so. I feel like what I’m doing is extremely difficult. That’s why it hasn’t been done at my magnitude yet.
In a past interview with Uproxx, you said you wanted to know what it felt like to be Drake, Lil Baby, 50 Cent, and Diddy. You said, “I want to know what it feels like and I’m chasing that experience.” How close to that do you feel like you are?
I don’t know. I feel like I’m pretty far. I don’t look at any of my accomplishments and be like, “Oh, I’m getting closer.” I feel like my success has no limit. It’s hard for me to gauge how close I am to anything. I feel like when you get older it’s like, in the music industry especially, you don’t want to rap your whole life. You want to be able to have a catalog where you can also do other sh*t.
Is there an album next or will there be a third installment to this It’s Not Me It’s You, Maybe It’s Me, toxic series?
No, I’m working on the album. I’m going to put out a real album with a good amount of songs. One solid consistent sound. I have been talking to OG Parker about a Die 4 Respect 2 project. That might come about at some point.
“I don’t know, Doc. I just feel like people really be hatin’ on me for no reason, and they don’t really know what be going on. They just be going off of what they see on the internet,” DDG said in his newly dropped official trailer for Maybe It’s Me… while laying on what appears to be a therapist’s coach. “But if people knew what was really going on, like, I wouldn’t even be going through this mentally.”
DDG references “a little screenshot on Twitter scandal” that started his struggle, presumably the DMs exposed his ex-partner Rubi Rose, which has “been going on for, like, five, six months now.” The camera cuts to a young Woo Wop holding a notepad and asking DDG why he decided to DM his ex. DDG said he “was just being petty,” which directly nods toward his February single, “Way Too Petty.”
Woo Wop encourages DDG to “be the bigger person” because he’s “not in the same position as before.”
DDG is about to attract even more attention with the release of Maybe It’s Me…, and below is everything to know about the album so far.
Release Date
Maybe It’s Me… is out Friday, July 14, via DDG Entertainment Inc./Epic Records.
As confirmed by DDG’s Instagram post sharing the tracklist, the album’s featured artists are BIA, Luh Tyler, and NLE Choppa.
Artwork
Singles
DDG released the sizzling single “This Summer” in early April, but it was quickly overshadowed by the sticky, self-aggrandizing “I’m Geekin.” DDG remixed “I’m Geekin” with Luh Tyler in May and again with BIA and NLE Choppa in June. Most recently, DDG dropped “Trynna Link” last week.
Tour
As of this writing, DDG had no announced plans for a subsequent tour.
Maybe It’s Me… is out 7/14 via DDG Entertainment Inc./Epic Records. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The coolest teen in rap is back with another trunk thumper. “Brand New Blues” fits right in with the rest of Luh Tyler‘s oeuvre, featuring swaggering verses and no hook to speak of, laid over a ghostly combination of synth sounds and a thundering kick drum. “I told you I don’t need no pen and pad, I’m comin’ off my top,” he smirks. “These n****s chasin’ hoes before the bag, that sh*t gotta stop.”
Those are the sort of priorities that ensured Luh Tyler a place in XXL‘s 2023 Freshman Class alongside other breakout stars like GloRilla, Lola Brooke, and TiaCorine. While there’s likely more content to come on that front, Tyler himself has stuck to his own grind, dropping the “Weeks” video just a couple of weeks ago and joining Moneybagg Yo on the Larger Than Life Tour later this summer. Tyler’s solo My Vision Tour is wrapping up this week with a show tonight in Orlando, just four hours from his hometown, Tallahassee, and the finale in Tampa tomorrow. Then, he’ll be headed overseas for Rolling Loud festivals in Portugal and Germany before a triumphant homecoming to RL Miami. That’ll be a sight to see.
Listen to Luh Tyler’s “Brand New Blues” above.
Luh Tyler is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The 2023 XXL Freshman has been revealed. The artists gracing this year’s cover include Philadelphia’s 2Rare, UK rapper Central Cee, Milwaukee native DC The Don, Memphis breakout stars Finesse2Tymes and GloRilla, the crooner Fridayy, New Yorker Lola Brooke, Florida fly guy Luh Tyler, New Orleans standout Rob49, Real Boston Richey, Michiganer SleazyWorld Go, and Houston viral star TiaCorine.
If those names aren’t familiar to you, Uproxx has you covered with some background. See the links below for more information about each of these rappers, from their UPROXX Sessions performances to profiles and interviews explaining just who they are and why you should be paying attention.
Here’s 2Rare’s UPROXX Sessions performance of “Q-Pid.”
Central Cee and Dave recently teamed up for the drill hit “Sprinter.”
DC The Don performed “Enemies” on UPROXX Sessions.
Finesse2Tymes shared his Bar Stories with Uproxx’s Cherise Johnson.
Luh Tyler wants to be known as more than just a “back flippin’” hip-hop newbie. The “Law & Order” rapper has a new single, “Weeks,” featuring NoCap, which shows that the rising rappers are here to earn their stops in the genre’s new class. The energetic song, co-produced by Al Geno and Luci G, appears on Luh Tyler’s new album, My Vision.
To drive home the rise-and-grind point of the single, director Cotto Over Did It shows Luh Tyler and NoCap’s never-ending work schedule as they fight for their spots in hip-hop.
On the track’s opening, Tyler sets the bar high by rapping, “Everybody tryna be a star, but they don’t know the feeling / Every day we on the grind, my mama know we gon’ have millions / We gon’ run that paper up, I need it up there with the ceiling / N****, if it ain’t about that bag, then I don’t want no dealings / Everybody tryna be a star, but they don’t know the feeling / Every day we on the grind, my mama know we gon’ have millions / We gon’ run that paper up, I need it up there with the ceiling / N****, if it ain’t about that bag, then I don’t want no dealings.”
Watch the full video above.
My Vision is out now via Atlantic. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Uproxx cover star Moneybagg Yo has announced the dates for his 2023 Larger Than Life Tour, which embarks on August 3 and runs through September 30. He’ll be joined on tour by rising stars Finesse2Tymes, Sexxy Red, Luh Tyler, Big Boogie, and YTB Fatt. He announced the tour just a week after the release of his new mixtape Hard To Love, the first of two projects he plans to release in 2023.
The Memphis native said of the mixtape, “I’m more vulnerable on this project than I ever been because of what I went through in the last two years. I experienced a lot and endured a lot. I went through a lot. So, this album is really personal, but I know the world is going to relate to it because of the stuff I’m saying, the subject matter, I know people going through what I went through across the globe.”
Tickets for Bagg’s Larger Than Life tour go on sale Tuesday, June 13 at 10 am. You can get more info here. See below for the full run of tour dates.
08/03 — Orlando, FL @ Amway Center
08/04 — Atlanta, GA @ State Farm Arena
08/06 — Charlotte, NC @ Spectrum Center
08/08 — New York, NY @ Terminal 5 ***
08/10 — Philadelphia, PA @ Liacouras Center
08/11 — Washington, DC @ Capital One Arena
08/13 — Nashville, TN @ Bridgestone Arena
08/17 — Indianapolis, IN @ Gainbridge Fieldhouse
08/18 — Cincinnati, OH @ Heritage Bank Center
08/19 — Chicago, IL @ Wintrust Arena
08/25 — St. Louis, MO @ Chaifetz Arena
08/27 — Milwaukee, WI @ Fiserv Forum
08/29 — Denver, CO @ Mission Ballroom
09/01 — Los Angeles, CA @ Novo ***
09/02 — Las Vegas, NV @ Drais
09/07 — Birmingham, AL @ Legacy Arena
09/09 — Ft. Worth, TX @ Dickies Arena
09/10 — Houston, TX @ Toyota Center
09/12 — Seattle, WA @ Showbox SoDo ***
09/14 — Oakland, CA @ Fox Theater ***
09/16 — Richmond, VA @ VSU Multipurpose Center
09/30 — Memphis, TN @ FedEx Forum
So far in 2023, the biggest music stories of the year have been about live shows, whether it’s Taylor Swift’s The Eras Tour perpetually carving out space in the news cycle, Beyoncé’s similarly lauded trek in support of Renaissance, or Ticketmaster running into issue after issue after issue after issue after issue after issue.
All of this has overshadowed the fact that during the opening months of the year, there have been a number of terrific new albums. SZA’s SOS has made R&B history with its chart success (and per tradition, we’re considering December 2022 albums as part of the 2023 slate). Fans saw Jack Harlow’s Jackman as a return to form for the increasingly popular rapper. Lana Del Rey and Yves Tumor duked it out for the title of longest album name with (takes a deep breath) Did You Know That There’s A Tunnel Under Ocean Blvd and Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), respectively.
As for what releases are the best of the best, here is our unranked list of 2023’s top albums so far, below.
100 Gecs — 10,000 Gecs
Dog Show/Atlantic
100 Gecs could have so easily had their moment in the meme sun with their 2019 debut album 1000 Gecs and then faded away forever. The songs were both catchy and off-the-wall weird, a delicate balance that’s not easy to pull off on a single album, let alone two. They did it again, though, on 10000 Gecs. How? Songwriting. Throughout the album are compositions that reach out through their alternative, kooky grime and smack you in the face with catchy hooks and memorable lyrics. The inevitable 100,000 Gecs can’t come soon enough. – Derrick Rossignol
6lack — Since I Have A Lover
LVRN/Interscope
It’s always beautiful to see musicians continuously find new ways to bring their artistry to life with each project they release. That’s undoubtedly been the case for 6lack who finally delivered his third album Since I Have A Lover. Unlike his previous two albums, 6lack combines pop references with his trademark alternative R&B for a body of work that is both freeing and diverse. Through success in love, 6lack finds himself to be a new man with a new outlook on life, all of which is detailed through records that display his loyalty (“Fatal Attraction”), patience (“B4L”), commitment (“Temporary”), and more. Whether he’s rapping or singing, 6lack gets his message across in an effortless and impressive manner. – Wongo Okon
Arlo Parks — My Soft Machine
Transgressive Records
After first making a name for herself with her poetic lyrics and touching confessions on mental health and queerness, UK artist Arlo Parks returned with her sophomore album My Soft Machine. Living up to the accolades that came along with her debut (which included two Grammy nominations and the Mercury Prize for Album Of The Year) Parks doubles down on her revelations about the realities of relationships and struggling with depression, this time adding synths into the mix. Lush indie earworms like “Purple Phase” and the Phoebe Bridgers-featuring “Pegasus,” Parks’ My Soft Machine continues to prove she’s one of the best indie songwriters of her generation. – Carolyn Droke
Baby Rose — Through And Through
Secretly Canadian
It’d been a little while since Baby Rose released a full-length project, but that period finally came to an end with her sophomore album Through And Through. The project is a refreshing addition to the musical landscape and Rose’s savory croons and heavy, soulful spirit guide the album that details the various fires she escaped her life. We meet a determined Baby Rose on Through And Through who isn’t afraid to put her hand out for a new foray into love (“Dance With Me” & “Love Bomb”), overcome heartbreak (“Stop The Bleeding”), and show that there are more sides to her than a hopeless romantic (“I Won’t Tell”). Through its 11 songs, Baby Rose offers an elegant and enchanting showcase of her undeniable talents with Though And Through. – W.O.
Blondshell — Blondshell
Partisan Records
LA-based songwriter Blondshell was the latest buzzy indie songwriter to arrive on the scene in 2023. Her self-titled debut offers a realistic snapshot of navigating your early 20s, relationship woes, and a heaping pile of self-doubt included. Blondshell opens with a song titled “Veronica Mars,” referencing the early aughts hit TV show. But that’s not the only ’00s reference you’ll find sprinkled throughout the album. The blown-out guitars and tangible angst call back to early alt-rock, along with singer Sabrina Teitelbaum’s earnest yet at-times guttural vocal delivery. Her lyrics pack an emotional gut-punch, my personal favorite being, “My kink is when you tell me that you think I’m pretty” on “Kiss City.” – C.D.
Boygenius — The Record
Interscope
When Boygenius — the supergroup comprised of Julien Baker, Lucy Dacus, and Phoebe Bridgers — first appeared with their 2018 self-titled EP, its members were known indie quantities but not quite the stars that they are in 2023. Their steady rise makes their debut LP, The Record, all the more of an event, and has found them on the cover of Rolling Stone, headlining festivals, and even appearing on the massive Taylor Swift stadium tour. But what might get lost in the hype and the friendship-focused narrative is that Boygenius also finds three magnificent songwriters working in their prime, tapping both new and unfamiliar territory in equal measure, and discovering parts of themselves that can only be illuminated through the artistry of others. – Philip Cosores
Caroline Polachek — Desire, I Want To Turn Into You
Perpetual Novice
Caroline Polachek is by no means new to the music world. Despite this, her solo sophomore release, Desire, I Want To Turn Into You, finds her experimenting with a range of influences and elevating herself beyond the initial sound that first drew listeners in. Here, she plays with flamenco on “Sunset,” while also not alienating anyone by adding the catchy, electronic early preview of “Bunny Is A Rider.” In her present chameleon fashion, she then flips the script once more for the quiet tension on “Crude Drawing Of An Angel.” Just as the title suggests, Polachek reaches a new peak by being able to play with the concept of transformation and versatility on this album. – Lexi Lane
Chlöe — In Pieces
Parkwood Entertainment/Columbia Records
There are many impressive aspects of Chlöe’s debut album In Pieces. First, is the fact that the singer even arrived at a point in her career to release. Her solo career was criticized for more reasons than it wasn’t, but none of that seemed to hinder the body of work that is In Pieces. In fact, it only strengthened it. The critiques and doubts became the backbone of the album which also detailed her recovery from heartbreak. Between the uptempo and bouncy “Body Do” and the captivating “Make It Look Easy,” Chlöe showcased her versatility, her writing, and her evolving vision on her debut album. Though the sky is the limit for her, Chlöe is well on her way to reaching it. – W.O.
Daniel Caesar — Never Enough
Republic
If there was any doubt that Daniel Caesar could replicate the glory days of his past, the Toronto singer put them all to rest with his euphoric third album Never Enough. It’s with this album that he took on a bigger producer role as he placed himself in a small town that’s hours outside of Toronto to make the beats that became the landscape of Never Enough. He grapples with wanting love (“Do You Like Me?”) and seeing that it’s run its course (“Let Me Go”) while finding time to shade those who believed they moved on from him to better (“Homiesexual”). Never Enough excellently captures the rollercoaster ride of love and the constant search for perfection, if that even exists. – W.O.
Davido — Timeless
Sony
Davido’s absence from the afrobeats world over the past couple of years, though it was respected, was surely felt by fans. So with the arrival of his fourth album Timeless, the expectation was that he would fit right into the genre’s newly-mainstream landscape while showing why he’s on the Mount Rushmore of the genre. To the surprise of no one, that’s exactly what happened. Timeless arrived as Davido’s best album to date and it’s thanks to the singer’s theme of conquering all things in his way on the album. Whether it be those who want to bring him down or unfortunate events in his life, Davdio stands tall “over dem” on Timeless. – W.O.
Don Toliver — Love Sick
Atlantic Records
Travis Scott’s protege takes yet another step into his own on his third studio album, released appropriately just two weeks after Valentine’s Day. “I want people to listen to my music and think it’s timeless,” Toliver said of his latest release and while he’s got a ways to go before he realizes this dream, Love Sick constitutes an impressive step in the right direction in tracks like “Honeymoon” and “Leave This Club.” – Aaron Williams
El Michels Affair & Black Thought — Glorious Game
Black Thought
Listen, you can go ahead and call me a stodgy old crank for continuing to value technically superior exercises in formalism in 2023. That’s fine. Black Thought remains the (read: THEE) finest bar-for-bar, straight-up rapper in hip-hop to this day and it’s worth honoring that — especially when he possesses the awareness to pair his prodigious talents with production worthy of the finest funk-soul excursions into ’70s Classicism this side of Adrian Younge’s Luke Cage soundtrack. – A.W.
Gorillaz — Cracker Island
Parlophone
From Snoop Dogg to Kali Uchis, Gorillaz have always positioned themselves as expert collaborators. And their latest album Cracker Island is no exception. Throughout the 10-track release, their first since 2020’s project Song Machine, Gorillaz whisk up a collection of lush and attention-grabbing songs that prove they’re still innovators after over 20 years as a band. The project spotlights artists from Bad Bunny with “Tormenta” to Tame Impala with “New Gold” (and even includes a collab with Stevie Nicks!), showing that the band is at their best when they work with other artists. The end might be nigh for the current iteration of Gorillaz — according to Damon Albarn — but with Cracker Island, the band has primed itself to continue pushing the boundaries of indie music, no matter who’s at its helm. – C.D.
Gracie Abrams — Good Riddance
Interscope
“You fell hard / I thought, good riddance,” Abrams twists the knife on the album opener “Best,” while maintaining themes of self-criticism throughout. The new album finds her exploring new horizons by working with Aaron Dessner and putting her biggest fears, worst behaviors, and an expanded level of emotional vulnerability on full display — all while backed by some gentle production. She also provides pauses to lift the energy, like the sweet caught-by-surprise moment on “The Blue.” Yet, staying true to the themes of struggling with the rollercoaster of entering adulthood, the album ends with the darkly contemplative “Right Now,” where Abrams wonders if her “little brother thinks my leaving was wrong,” as she continues growing up, getting out, and saying good riddance. – L.L.
Hot Mulligan — Why Would I Watch
Wax Bodega
The singles for the new Hot Mulligan album Why Would I Watch consisted of “Shhhh! Golf Is On” and “Gans Media Retro Games,” both of which are some of their best material to date. Their pop-punk earworms explode with unabating riffs and fervent shouts; every melody has the stickiness of a song you’d hear on the radio. The Blink-182 influence is directly confronted on the ridiculously catchy and inconsolably depressing track “It’s A Family Movie She Hates Her Dad”: “Sit me down and give me the confessional / Stay together for the kid / Isn’t that original?” – Danielle Chelosky
IDK — F65
IDK
DMV rapper IDK keeps getting more innovative, creative, and insightful with each new release. F65 applies a thematic veneer of Formula 1 racing to tie together a sprawling meditation on race (get it?), art, identity, and aspiration, drawing parallels between his drive to be the best and the adversities faced by F1 driver Lewis Hamilton. Throughout, IDK liberally pulls from the canon of Black music — jazz, dance, soul, and hardcore hip-hop — to prove his point: that Black artists are not a monolith. – A.W.
Indigo De Souza — All Of This Will End
Saddle Creek
Indigo De Souza is a master of imbuing sad songs with a contagious aura of hope. Though “Time Back,” the opener of her new album All Of This Will End, dwells on loss, it bursts with lively synthesizers and ends on an optimistic note: “When I come home / I will begin again.” This is also true of the confessional yet jubilant “Smog,” as well as the anxious “Parking Lot.” The images of pain are all outlined in a revelatory glow that forces her to recognize the significance of feeling anything at all. – D.C.
Jack Harlow — Jackman
Atlantic
Jack Harlow heard the complaints about his last album, Come Home The Kids Miss You, and responded in kind with a 10-song salvo of tracks that saw the Louisville rapper revert to the hungry, intensely-focused artist he was as he freestyled and battle-rapped his way to the top. The highlights: “They Don’t Love It,” “Gang Gang Gang,” and “Blame On Me,” which saw his talent for conceptual songwriting flexed to a degree fans hadn’t seen for nearly two years. – A.W.
Jessie Ware — That! Feels Good!
Interscope
Jessie Ware snuck “Free Yourself” under the wire last July. She’s ahead of the game this year with a disco-pop indulgence inspired by divas like Donna Summer. “Lightning” is ready-made for dog days, oozing romance. “Freak Me Now” is brash lust. “Begin Again” is pure refreshment. Pick one, and you will feel good. – Megan Armstrong
Jonas Brothers — The Album
Republic
The Jonas Brothers are a trifecta, but the Jon Bellion-produced The Album underscores their dynamism. “Waffle House,” TikTok’s favorite single, reframes their formative fights with loving eyes. “Little Bird” delicately illustrates their newer roles as girl dads. They haven’t lost their edge in marriage — just listen to “Summer In The Hamptons.” Life keeps changing, and Joe, Kevin, and Nick keep writing. The ‘70s-inspired LP propels them into a boundless future. – M.A.
Kali Uchis — Red Moon In Venus
Geffen
Kali Uchis’ third album Red Moon In Venus is without question her best album to date. Maybe it’s because she’s more in touch with herself than ever or maybe it’s because she’s more at peace than ever. The result of either, or maybe both of those observations, is a 15-track body of work that captures Uchis majestically and graceful float through elements of R&B and pop, while also tapping into her Spanish roots, to make what sounds like Uchis’ idea of paradise. Whether it’s “Fantasy” with Don Toliver, “Deserve Me” with Summer Walker, or solo efforts like “All Mine” and “Moonlight,” Kali Uchis’ Red Moon In Venus has plenty of music to get lost in and find your own paradise. – W.O.
Karol G — ‘Mañana Será Bonito’
Universal Music Latino
After a very public breakup, Karol G chose to heal the way she knows best — through music. The Colombian superstar’s fourth album Mañana Será Bonito proves to be a therapeutic experience, for both Karol and the fans. Over the course of 17 flawless tracks, Karol engages in self-care, debates returning to an ex, falls in love on her travels, and has several good cries. All while repeating the very phrase that got her through it all — “Mañana será bonito.” – Alex Gonzalez
Kaytranada and Aminé — Kaytraminé
Amine/Kaytranda
The term “album of the summer” gets tossed around quite a lot lately, but this joint effort from the Portland rapper and Canadian dance producer earns it with 11 breezy-yet-diverse approaches to the seasonal sound and its related topics. From the glitzy, mellow “Rebuke” to the funk-tinged Pharrell feature “4Eva,” the lively spirit of the warmest months of the year comes through in ways both unexpected and comfortingly familiar. – A.W.
Khamari — A Brief Nirvana
Via the label
The lone newcomer on this list is singer Khamari, who delivered his debut project A Brief Nirvana to kick off the unofficial start to summer. The 11-track project is a sweet combination of nostalgia and a fresh breath from a new artist to the game, and his sampling of Al Green’s “On My Way” on “These Four Walls” for an honest tale about loneliness is a perfect example of that. Even when through completely original compositions like “Doctor, My Eyes,” Khamari’s artistry shines through vivid lyricism that’s aided by emotive production. The Boston-born singer has earned comparisons to Frank Ocean and his A Brief Nirvana debut is a great start to hopefully one day reaching the status of the celebrated singer. – W.O.
Lana Del Rey — Did You Know That There’s A Tunnel Under Ocean Blvd
Polydor/Interscope
Lana Del Rey’s career has been defined by a hot and cold reaction from the press, and equally hot and cold moments of self-sabotage and self-mythologizing. But if anything, it speaks volumes that any online spat that might accompany a rollout is generally forgotten by the next album cycle. That’s how continually surprising and sharp Lana is as a songwriter, that mild controversy slides off her. And that talent is underscored on Did You Know That There’s A Tunnel Under Ocean Blvd. “A&W” is another high point in sonic adventurousness and lyrical insight, while “The Grants” and the title track are so instantly familiar, they might as well be pulled directly from the singer-songwriter canon. We just can’t quit you, Lana. – P.C.
Lil Yachty — Let’s Start Here
Lil Yachty
Is Lil Yachty’s experiment in psychedelia technically hip-hop? I think the point he makes with Let’s Start Here is: who cares? (We’re including him here because of how Yachty got his start, the mode of the music he primarily makes, and the fact that he spends as much of this rock-inspired effort rapping as he does singing.) Yachty’s always bristled at the thought that he could be limited to just one genre. Here’s the strongest argument in his favor. – A.W.
Luh Tyler — My Vision
Luh Tyler
Luh Tyler is like the perfect synthesis of predecessors such as Kodak Black and Lil Tecca, with the carefree confidence of pre-graduation youth and the poised, deceptively clever pen game of the frequently incarcerated gangster rapper. By combining his natural gifts with an easygoing, unpracticed charisma and subject matter centered more around teenage fantasies of luxury lifestyles than drug game-produced shootouts, Luh Tyler cleans up the typical Florida approach to hip-hop without losing his cool. – A.W.
Madison McFerrin — I Hope You Can Forgive You
MadMcFerrin Music
There are nepo babies. Then there are people that have music following through their genetic makeup. Born to a family filled with creative professionals Madison McFerrin is the latter of the two. On the singer’s debut album, I Hope You Can Forgive Me, that lifelong exposure to the arts permeates across the project. Largely produced and written by McFerrin, the body of work is an ethereal sound bath of jazz, R&B, folk, and rock elements tactically incorporating each sound sets. Her musical IQ sets McFerrin apart from her independent counterparts. Her viral 2021 track “Guilty” served as her formal induction to the larger music audience. However, the album’s breakout track, “Utah,” will keep listeners tuned in. I Hope You Can Forgive Me is the culmination of Madison McFerrin’s exploration as an artist, and it paid off exponentially. – Flisadam Pointer
Masego — Masego
Masego
Masego’s magnum opus arrived more than a decade into his career and it’s fitting that it’s for his self-titled sophomore album. The project’s 14 songs are a masterful combination of the elements that make Masego an artist we’ve come to love. The tropical side of his discography comes alive through “Say You Want Me” while his jazz and funk roots are wrapped around records like “You Never Visit Me.” With Masego, the singer proves that the music will never be a concern for himself. Since day one, he’s impressed fans repeatedly with his talents, and now with his second album, Masego perfectly combined those talents for a body of work that couldn’t be more representative of himself. – W.O.
Metro Boomin — Heroes & Villains
Metro Boomin
Arguably the most dominant producer of the streaming era, Metro Boomin comes close to creating his magnum opus with this late 2022 compilation (which is after Uproxx’s cutoff for Best of 2022 consideration). His full curatorial superpowers go on display in Heroes & Villians as he assembles his own Avengers of rap titans — or a Legion of Doom if you want to see it another way. 21 Savage, Future, Migos, Travis Scott, and more help fill out the roster, but the star here is always his production, skillfully tying them all together. – A.W.
Myke Towers — La Vida Es Una
Warner Music Latina
Puerto Rican artist Myke Towers couldn’t be held in a box while making his third album, La Vida Es Una. On the album, Towers showcases his versatility by way of lightly revisiting his rap roots, but mostly experimenting with a multitude of genres. While 23 tracks may seem saturated for an album in 2023, Towers delivers through reggaeton, dancehall, and ‘80s-synthpop sounds, defying the pigeonholing of the industry. Needless to say, he’s keeping fans fed. – A.G.
The National — First Two Pages Of Frankenstein
4AD
This is the most National-like that The National has sounded in years. While there are plenty of high-profile guest stars — Taylor Swift! Phoebe Bridgers! Sufjan Stevens! — First Two Pages Of Frankenstein at its best when they re-focus on their most essential attribute, which comes when these lifelong friends and brothers plug in, stand in a circle, block out the outside world, and sound like a great band. – Steven Hyden
Oddisee — To What End
Oddisee
Oddisee, one of the most consistent voices operating in the rap world for the past decade or so, has reached an impasse with himself about why he does what he does. And, in the spirit of true talent, he winds up using that as inspiration on this, his 10th studio album, which questions the nature of aspiration. To What End finds Oddisee wrestling with not just his goals and ambitions but what they might cost and whether it’s all really worth it. For us the listeners, it is. – A.W.
RAYE — My 21st Century Blues
Human Re Sources/The Orchard
After years of having her debut album delayed, UK singer/songwriter RAYE took matters into her own hands. Two years ago, RAYE outed her previous label, Polydor, for holding her music hostage. In February, she finally released My 21st Century Blues independently. And in turn, she flipped the industry on its head, with tales of heartache, insecurity, and gaslighting. Having finally earned number one song and album on the UK charts, it’s safe to say RAYE’s big risk paid off. – A.G.
Samia — Honey
Grand Jury
Many of 2023’s biggest releases of the year across genres shared one commonality — all were gracefully thematic. Samia’s sophomore album, Honey, was the complete opposite in all the best ways. Throughout the project’s 11 tracks which includes singles “Breathing Song,” “Pink Balloon” and “Sea Lions,” the musician jumps across topics and sounds. – F.P.
Skrillex — Quest For Fire, Don’t Get Too Close
Owsla/AtlanticOwsla/Atlantic
Skrillex is most readily associated with the early 2010s, but he’s been killing it lately, too. Aside from his beloved Coachella performance alongside Fred Again.. and Four Tet, he dropped a pair of albums in February, his first since 2014: Quest For Fire came first and Don’t Get Too Close followed the next day. The list of artists featured across the projects (including Justin Bieber, Missy Elliott, Kid Cudi, and PinkPantheress) evidence how much esteem Skrillex has in the industry, while the top-rate albums illustrate why he remains an icon. – D.R.
Skyzoo x The Other Guys — The Mind Of A Saint
Skyzoo
A masterfully executed concept album inspired by the characters and events of the drug-game epic Snowfall, The Mind Of A Saint finds Skyzoo putting his feet in the shoes of the show’s principal criminal mastermind. Sky writes through the perspective of an older, wiser Franklin Saint who turned to the pen instead of the bottle — after all, he did finish the project before the final season had aired — but even with two layers of functionalization, the words and themes ring true. – A.W.
SZA — SOS
TDE/RCA
Yes, this album came out in 2022, but with most of its success taking place in 2023 and the fact that it came after our 2022 lists, it’s only right that SZA’sSOS makes the cut here. Five years removed from her debut album, SZA returns to a world riddled with troubled waters that people from all over hoped to survive and swim out of. Through the album’s expansive 23 songs, SZA guides us on a journey of surviving life’s elements, the lessons learned along the way, and what it looks like to make it to shore. The ups and downs of life, growing pains, and artistic struggles are all present on this album, and it’s even more impressive that she made its 23 songs not feel like an absolute drag. It was a long time coming for SZA, but boy did she arrive. – W.O.
THEY. — Nu Moon
AWAL
THEY. — the duo comprised of singer Drew Love and producer Dante Jones — entered a new era with the release of their third album Nu Moon. The project is the duo’s first independent album, and the freedom to create as one pleases that comes with this independence is hard to ignore through the project’s 14 songs. With Nu Moon, Drew and Dante give us another take of their trademark alternative R&B style and it’s one that seems to live under the night sky. With records like “In The Mood,” “Riptide,” and “Wait On Me” which features the incomparable Kacey Musgraves, THEY. present no sign of sunlight while proving that even in the darkest moments, love can still exist. Searching for it, having it, and losing it; it’s the theme of THEY’s Nu Moon which strikes as their best and most complete body of work to date. – W.O.
Twice — Ready To Be
Republic
One of my close friends is a gigantic Twice fan, which by association, has led to me getting into their Ready To Be mini-album from earlier this year. While I’m not as familiar with their past records to compare, the early singles, “Moonlight Sunrise” and “Set Me Free,” showcase the group’s romantic side over the bubbly production that truly just pulls you in. (Plus, their live performances are so impeccable and synchronized.) On other tracks from the record, Twice shift into fiery, flirty territory with the rock-influenced “Blame It On Me,” which shows off the band’s wide-spanning inspirations that push the boundaries of the general K-Pop conceptions — and prove that they really are the ones to watch. – L.L.
Wednesday — Rat Saw God
Dead Oceans
On the previous Wednesday LP, 2021’s Twin Plagues, singer-songwriter Karly Hartzman wrote evocative story songs set in what I like to call the GummoSouth, a partly real and partly made-up region in which dead dogs and burned-down Dairy Queens dot the landscape like Starbucks crowd street corners in big cities. But on Rat Saw God, her songwriting exhibits a level of detail that is practically physical. The title alone of the opening track, “Hot Rotten Grass Smell,” filled my nostrils with the aroma of a humid late July day. – S.H.
Yaeji — With A Hammer
XL Recordings
Yaeji simmered relatively under the radar as a beloved figure in the electronic scene for years before impressing with her debut 2020 mixtape What We Drew. Now, it’s debut album time. With A Hammer came out in April and it too is a critical hit. She clearly hasn’t let early success coerce her into taming down her experimental ways in pursuit of a more commercial sound. Singles like “For Granted” and “Passed Me By” are as adventurous as ever while also maintaining an undeniable charm, which can also be said for the rest of one of the year’s most interesting projects. – D.R.
Yves Tumor — Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Warp
It’s not quite radical enough to qualify as “experimental” and not quite catchy enough to work as a full-on pop move. But sonically this is one of the best-sounding indie albums of 2023’s first half. With the assistance of Noah Goldstein, an engineer who worked on My Beautiful Dark Twisted Fantasy, and Alan Moulder, who’s one of the great architects of ’90s alt-rock, Praise A Lord invites you to get lost in its grooves. It’s a very good headphone record. The instrumental tones are on-point. – S.H.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
DDG has put a new spin on his “I’m Geekin” song by dropping an added remix with Luh Tyler.
“Pull up in Maybach, yeah, we finna swerve (Skrrt) / Like my bitch stick with a whole lot of curve / They payin’ the kid just to say all these words / Gotta go drop them bands, tryna get you a verse,” Tyler raps through the second verse.
“I’m countin’ pape’ while you sleep, countin’ sheep / Tell your b*tch pour me up, I ain’t sippin’ no tea / Tell that boy tie his lace, ain’t no trippin’ on me / In a Wraith, slidin’ round, b*tch, I’m with DDG,” he adds.
DDG also adds his new third verse after, even tossing a namedrop in for his collaborator. “I heard Luh Tyler wanna f*ck with one of my exes,” he said, before taking some time to comment on his haters. “I be in the blogs, topic of discussion / They say I’m a dog, always gon’ be somethin’ / I do somethin’ positive, they don’t discuss it / But when it be negative, them people love it, huh?”
Meanwhile, the original song continues to rack up streams on various platforms, with this likely giving it another added boost of popularity.
Check out DDG’s “I’m Geekin” remix with Luh Tyler above.
Luh Tyler is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
In the modern streaming era, sometimes, having multiple remixes of your hit song can be just what artists need to take their hottest tracks over the top. Just ask Coi Leray, Ice Spice, Lil Nas X, and Nicki Minaj.
Atlanta rapper Kali is the latest to try it out, and her new song “Area Codes” is the perfect vehicle for the multiple remix strategy, since each new version gives her the chance to collaborate with another new artist. Her latest is the “850 Remix”; since that area code covers the Florida panhandle, who better to tap than Luh Tyler, the “coolest teen in hip-hop?”
The Tallahassee native comes in with his signature laid-back swagger, boasting that he’s “keeping it P” (for “playa”) with a short but sweet contribution that makes effective use of the charm he’s displayed on tracks like “First Show” and “Stand On Biz.”
In the year since the release of her debut EP Toxic Chocolate, Kali’s been hard at work raising her profile. The XXL Freshman made appearances on collaborations with fellow ATLien Baby Tate and rising stars Lola Brooke and BreezyLyn and has continued to drop singles such as “Bout U” and “Wet,” along with the multiple remixes of “Area Codes.”
So far, she’s released the “314 Remix” with Sexyy Red, the “415 Remix” with Lil Kayla, and the “718 Remix” featuring Kenzo B. Where will she land next? You’ll have to stay tuned to find out. Listen to the “850 Remix” of “Area Codes” with Luh Tyler above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
2023 XXL Freshman Class 
