Back in November, Rico Nasty first teased a track on her TikTok of her flowing over a beat that distinctly featured a sample of Missy Elliott’s “Get Ur Freak On” as its backbone. Her bars are punctuated by the hilarious call out, “If my ass so small, why your n**** always lookin’?” And now the wild new single “Freak” is here, along with an equally out-there video that Rico said almost got shut down multiple times during the shoot.
The track opens with the noticeable Missy Elliott stem from Timbaland, before Rico — who released her latest album, Las Ruinas in July — unleashes a totally possessed verbal assault. “Get yo freak on, freak ’em then I leave ’em / He said he love me, don’t know if I believe him / That feeling been gone, my heart cold like some freon / Married to the money, that b**ch been my fian…cée!”
On an Instagram post that hyped up the brand new video Directed by Spudsmckenzie, Rico Nasty quoted the aforementioned lyric and said, “The way this sh*t almost got shut down like 5 times [cry laughing emoji] SHOUT OUT TO ALL MY DMV BAD BITCHES THAT PULLED UPPPPPP IN THE COLD !!!! I love YALL.”
Watch the new video for “Freak” above.
Rico Nasty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
In July, Rico Nasty unveiled her explosive new album Las Ruinas to follow up her critically-acclaimed debut Nightmare Vacation which arrived in 2020. Las Ruinas arrived after she rolled out infectious singles like “Blow Me,” “Intrusive,” and “Black Punk,” which quickly built up the anticipation for the record. Today, she’s back to share the eerie music video for the track “Gotsta Get Paid.”
The chaotic video watches Nasty as she walks through different landscapes. At one point, she’s at the top of a cliff overlooking an unreal mountain range; at another, she’s dancing in the sunlit woods. It’s trippy and includes scenes with lots of fire and ice, which sums up the eclectic nature of her sound as she skids between hyperpop, hip-hop, and punk unpredictably.
Since releasing Las Ruinas, Nasty was on Megan Thee Stallion’s new album Traumazine for the song “Scary,” which came out last month when Megan dropped the LP with no warning. Shortly before Las Ruinas was unleashed, Nasty was also recruited by Fred Again for a remix of his track “Jungle.”
Check out the video for “Gotsta Get Paid” above.
Rico Nasty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Celebrity wax figures are hit or miss. A Billie Eilish one from earlier this year raised some eyebrows, but Madame Tussauds has a strong track record, like with their well-received Drake figure from 2019. Tussauds’ latest figure is of Lil Nas X and it looks fantastic. It’s so convincing, in fact, that the rapper was able to use it to prank some of his famous friends.
In a video he shared yesterday (September 20), Nas is in a room with his figure and he decides to FaceTime some people, calling them but only putting the figure in frame. One of the first calls was to Olivia Rodrigo, who cheerfully answered and seemed to think the call was frozen. The real Nas then jumped in and said, “I’m sorry, I’m sorry, it’s a wax figure,” which got a laugh from Rodrigo.
The final call of the video is to Lizzo, who answers by saying, “Hi,” before waiting a beat and exclaiming, “What the f*ck?” Nas then makes the reveal, much to Lizzo’s amusement, who adds, “I f*ckin’ thought it was you. I was like, ‘Why are you in your Met Gala outfit?’”
In the clip, Nas also pranks Troye Sivan, Steve Lacy, Rico Nasty, and others, so check it out above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Rico Nasty’s most recent TikTok addresses the whole Blueface “Barb” mix-up. Apparently, the person in the surfaced image is not the “Thotiana” rapper. Rico Nasty jumped on Tik Tok to address the whole Blueface mix-up. An image of a young man wearing a Nicki Minaj plastered tank top outside one of her concerts went viral […]
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.
The Blue Water Road Trip tour with R&B singers Kehlani, Destin Conrad, and alternative rap artist Rico Nasty sent fans on an emotional rollercoaster. The Opener: Destin Conrad At the beginning of the night, R&B singer Destin Conrad opened the concert with songs from his latest EP, COLORWAY. The “Bills” singer engaged with the audience […]
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.
We’re at the point where it’s both reductive and inadequate to call Rico Nasty just a rapper. And Rico’s new mixtape, Las Ruinas, is exhibit A in the argument that what the Maryland artist does is way too expansive, creative, and intriguing to be constrained to the labels it has been given so far. Some of those labels include punk-rap, emo-trap, scream-rap, and sugar trap – the last term Rico’s own, coined on one of her first mixtapes. Las Ruinas explodes those paradigms, throwing Paramore, Run-DMC, Lil Uzi Vert, and Nicki Minaj into a blender and letting it rip, creating something entirely different from any of its influences.
In the run-up to the release, Rico insinuated that the tape would show a softer side of the brash, ‘80s-inspired artist than her debut album, Nightmare Vacation. Insomuch as it accomplishes this mission, there’s still a lot of yelling – which is actually a good thing. When artists try to get confessional, they can sometimes lean too heavily into the emotion, making for a mawkish, melodramatic affair. Rather than getting bogged down by maudlin ballads, Las Ruinas opts to expand the sonic palette of its predecessor, which in turn allows Rico to try new things without really leaving her lane. It’s a neat trick.
Part of it is that Rico’s lane is really wide. She’s already established herself in the hyperpop lane, where plenty of these new tracks reside. The album opens with “Intrusive,” all warped-synths and overblown bass kicks, with Rico rasping her way through the uptempo track, occasionally embellished with spacey vocal effects. “Black Punk,” meanwhile, takes the tempo down a tick and adds some Korn-ish guitar – it’s not exactly punk, or nu-metal, but it’s clearly influenced by both. The flavor of Rico’s own secret sauce is what ties it all together and keeps any single element from dominating the mix.
The closest she comes to a recognizable, single genre effort is the emphatic “Blow Me,” which borrows the thumping drums of Memphis trap with a hypnotic instrumental loop from the Atlanta strain, then finds Rico splitting the difference between her “Own It” flow and the one from “Fashion Week” for a cavalier call-out to challengers. It’s an impressive show of her improvement since Nightmare Vacation, as she mocks, “Your bitch ain’t bad, she a eyesore / Truth hurts, baby, you should lie more.” It’s just one of a litany of guffaw-worthy rhymes on the album, and you can almost hear her snickering as she says them.
Rico even manages to put her own specific twist on a rising trend with “Jungle,” Rico’s remix of Fred Again..’s pulse-pounding house jam. Remember when I said Black people were coming back to reclaim dance music? Rico definitely got the memo. What’s truly awesome about the confidence and comfort she displays on this track is that she appears just as cozy on Nirvana-esque ballad “Easy,” the dreamy “Focus On Me,” and the album’s closer, “Chicken Nugget.”
The latter, an ode to her son Cameron, is a true triumph; in it, Rico opens up about how Cam opened up her own world. “Now I see why my mama yelled at me,” she reflects. “I can see how she was obsessed with me.” It’s exactly the sort of vulnerability peeking out of the thrash-rapper facade that strengthens her image as a badass. There’s real passion and heartache – the kind born of the implied and well-known struggles of motherhood, highlighted by the usual teenage angst – fueling her outbursts. At the same time, by pulling off the mask, even slightly, Rico makes herself more relatable, more endearing, and more human than many of her peers in the SoundCloud-bred, screamo-rap scene, whose “rage” has always struck me as at least a little bit manufactured.
The eclecticism displayed on Las Ruinas might leech some of its replay value or turn off listeners looking for a more consistent listening experience. It’s cohesive but chaotic, so throwing it on when you’re in one mood might mean you have to skip around to find the tracks that suit that mood. While it’s far from a road trip staple or a surefire party starter, there’s lots here to love – most of all, its star, who proudly made this album for herself, doing exactly what she wanted to do. Its real value might be in once again pushing open the boundaries for the next weird little kid who doesn’t want to stick to one thing but take up every available inch of whatever lane they drive in.
Las Ruinas is out now on Atlantic Records. Get it here.
Rico Nasty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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