Like most online debates, this one was started by an account expressing a “hot take” with which fans took issue. “There’s not a single thing Vince Staples does better than J. Cole,” it wrote. Within an hour, the challenge was met by a dissenter who wrote, “I’m a J. Cole fan but Vince does just about everything better than Cole.” Thus, we were off to the races, with various voices chiming in to make their points or refute others’.
I’m a J. Cole fan but Vince does just about everything better than Cole https://t.co/eoAgphoSct
Of course, the funniest response came from Staples himself. As fans pitted the two rappers against each other, Vince had a characteristically cheeky response, tweeting, “You n****s need jobs” and following up with, “So passionate about hip hop but I’ve yet to see one of you weird ass n****s break dance.”
We here at Uproxx support both rappers, but tend to agree with Vince here: There are far more interesting things going on in the culture than subjective comparisons of “who’s better.”
Still, if that’s your thing, you can check out more responses below.
I hate hip hop twitter because they always have these dumbass takes to look cool. Vince Staples can’t do a SINGLE THING better than J. Cole besides somehow sound more boring. I love Vince but Cole has done too much for this game carrying the essence of hip hop for the past decade https://t.co/194UXFX0k8
vince staples discography is better than j cole by like miles…. plus Vince is actually interesting and has amazing beat choices https://t.co/UwUJJecpLq
Questlove is an amazingly accomplished artist, with six Grammy Awards, an Academy Award, and a slew of books and movies to his name. Likewise, fellow Philadelphian multihyphenate Quinta Brunson has a ton of hardware adorning her shelf, with an Emmy Award to go alongside multiple(!) Peabody Awards.
You’d think that these would be pretty serious people, but everyone needs to unwind sometime — and, in their case, they equally overachieve with their game nights as with anything else, putting on a party of epic proportions with a guest list that reads like a dream blunt rotation.
In addition to fellow Abbott Elementary stars Ayo Edibiri (who plays Quinta’s character’s sister), Cree Summer, and Zack Fox (who plays Quinta’s character’s ex), the guests included music stars like Eryn Allen Kane, Finneas, Jason Sudeikis, Jojo, Kelly Rowland, LL Cool J, Maggie Rogers, Steve Lacy, Thundercat, Vince Staples, Willow, and even Weird Al Yankovic. I’d ask what a brother has to do to get an invite, but it seems pretty obvious: Get nominated for a Grammy or two, shift the paradigms of popular music, or be one of the most talented humans alive. You can check out some photos from the hosts below.
Kendrick Lamar’s “Pop Out” show will go down as a classic moment. E-40, a guy who has seen a lot, deemed it one of the greatest nights in hip-hop history. All the heavy hitters from the West Coast were in attendance. Well, almost. Vince Staples is one of the few L.A. stars who was not present at the show, but it wasn’t for lack of support. Fans questioned why Staples was missing in action, and DJ Mustard set the record straight on social media.
The answer was simple enough. Vince Staples just dropped his latest album, Dark Times, and is gearing up to go on tour. DJ Mustard let it known that Staples was working when the “Pop Out” was popping off. “Vince Staples was overseas making the blacks proud on Juneteenth,” he wrote. “Other wise [sic] magic would of been magic on stage.” The producer is referencing the song “Magic,” a collab that appeared on Staples’ previous album, RAMONA PARK BROKE MY HEART. Vince Staples’ Instagram seems to back up Mustard’s claim. The last time the rapper posted was on June 8, and he included photos from a show he did in Germany.
Vince Staples’ busy schedule didn’t stop fans from asking where he was. The rapper even hopped on X (formerly Twitter) to quiet the speculation. “Stop politicking on my behalf,” he wrote. “Enjoy the beautiful moment.” The rapper also voiced his approval over the surprise appearance of Tommy the Clown at the “Pop Out” show. Staples tweeted the L.A. icon’s name, before elaborating. “In all honesty,” he wrote. “If I knew Tommy the Clown was gonna be there I would’ve cancelled the tour. I been waiting for my moment since ‘02.” Tommy the Clown is a dancer best known for pioneering the “clowning” style. In true Staples form, his comment is both hilarious and sincere.
Vince Staples is a Kendrick Lamar supporter. That being said, he didn’t love the impact that Lamar’s beef with Drake had on the music world. He spoke on the matter during a Long Beach event in May. “[Artists] are getting priced out of our contracts, we’re getting priced out of our imprints,” he explained. “There are no labels, basically, that are incentivized to sign Black music.” He then criticized media personalities and label heads for hyping up the beef. “While Taylor Swift is fighting for people to be able to have streaming money,” he noted. “N**gas is on the internet arguing with each other about some rap sh*t.”
My colleague Derrick Rossignol is right; writing about beef and hate for the past six months has been exhausting. We here at Uproxx would much rather focus on the positives — especially when it comes to hip-hop, which has been about as innovative and productive as it has ever beeen in 2024.
Whatever coast you claim, whichever generation you consider yourself part of, no matter why you listen to hip-hop in the first place — to party, to think, to hype yourself up, or to escape into a gangster fantasy where you’re the toughest person in your town — there has been an embarrassment of riches with respect to the sheer volume of hip-hop releases this year, and its quality.
So, yes, the bloodsport was enjoyable while it lasted (for some of us), but when the dust has settled, you still need something to listen to. Whether you’re catching up, revisiting favorites you forgot about in the chaos, or just setting up your summer listening playlist, we’ve got you covered. Here are the best hip-hop albums of 2024 so far, presented in alphabetical order and including the entries from the best albums of 2024 so far list.
21 Savage — American Dream
21 Savage’s first solo album in over three years arrived at the top of the year to end a brief run of collaborative albums that included Savage Mode II with Metro Boomin and Her Loss with Drake. American Dream, his third solo album, presents all the sides of 21 Savage that we’ve come to love over the years. His menacing demeanor lives on tracks like “Redrum” and “Dangerous” and his charm is captured on “Prove It” and “Should’ve Wore A Bonnet” while honesty prevails with “Just Like Me” and “Dark Days.” 21 Savage’s long-awaited solo return checks all the expected boxes and elevates the rapper to a higher status, making an American Dream turn global and reach his birthplace of London where he performed for the first time at the end of 2023. — Wongo Okon
Anycia — Princess Pop That
Following a 2023 year that put her on the map, Atlanta rapper Anycia stepped in 2024 with a point to prove. In a matter of four months, it was seen and received thanks to her debut album Princess Pop That. She excels in a lane occupied by few where a cool and calm demeanor delivers the intended messages with a crispness that sends a chill down the spine. Anycia means every word she says as records like “Type Beat,” “Bad Weather,” and “Splash Brothers” prove. That’s Pop That side of Anycia, the Princess that is Anycia uses the Cash Cobain-assisted “That’s Hard” and the splashy “Squigi” to get her point across. What Princess Pop That gives you is duality and evidence that Anycia has plenty to show in the coming years of her career. — W.O
Benny The Butcher — Everybody Can’t Go
Benny The Butcher’s Def Jam debut didn’t usher a change in style or approach for the Buffalo rapper. If anything, his new home allowed him to more comfortably do what we’ve seen him excel at for much of the last decade. On Everybody Can’t Go, Benny puts up a fine display of rapping alongside Lil Wayne on the haunting “Big Dog” all to deliver a riveting and championing tale of a double life on “One Foot In” with Stove God Cooks. “Pillow Talk & Slander” with Jadakiss and Babyface Ray unites different generations of rap for a moment of introspection and celebration. Everybody Can’t Go opens a new era for Benny and promises many more bright moments to accompany the ones he put forth years prior. — W.O.
Bossman Dlow — Mr Beat The Road
Few rappers in 2024 have been as fun to listen to as Florida rapper Bossman Dlow rapper is. His Mr Beat The Road project is a 17-track compilation of exaggerated money spreads, pretentious claims about his ability to make money, entertaining adlibs, and catchy bars and punchlines. For Bossman Dlow, it all started with the success of “Get In With Me,” a convincing how-to on bossing up, increasing your cash flow, and living like a star. The standout single doesn’t even scratch the surface of Mr Beat The Road though. “Boss Talk” puts his title as head honcho on full display while “Mr Pot Scraper” paints him as a hustler like no other. “Come Here” with Sexyy Red is flirtatious fun and “Lil Bastard” with Rob49 sounds the alarm on Bossman Dlow’s inescapable arrival. Mr Beat The Road is a welcome party worth attending and remembering. — W.O.
Buddy — Don’t Forget To Breathe
In an era of so many rappers employing therapy and its associated lingo as a stylistic shortcut to being truly vulnerable, honest, and confessional on records, Buddy’s Don’t Forget To Breathe is, fittingly, a breath of fresh air. The Compton rapper not only takes the time to get to know himself after his decade or so in the game — letting listeners in on the process — but displays his expansive taste with a lush musical palette incorporating groovy R&B instrumentation over head-nodding hip-hop rhythms. “Buddy A Fool” is a self-aware self send-up, “Got Me Started” is a confident slick talk session, and “You 2 Thank” bridges the gap between post-G-funk and diasporic excellence. — Aaron Williams
Chief Keef — Almighty So 2
There’s no denying Chief Keef’s impact on modern-day hip-hop. All of what exists today, for better or for worse, would be different or absent without Chief Keef. At 28 years old, he’s a rap veteran when many at that age are just a few years into their careers, and many who checked into the game at 17 years old, like Keef did, fizzled out shortly after they could legally drink. So Keef’s continued relevance for more than a decade is impressive, as is his fifth album, Almighty So 2. Originally announced back in 2019, the album’s arrival five years later is a great gift to fans. What makes it better are splashy features from Tierra Whack, Sexyy Red, Quavo, and others, as well as sharp bass-rattling production supplied by Keef himself. — W.O.
Flo Milli — Fine Ho, Stay
If Ho, Why Is You Here? was Flo Milli’s fun-loving introduction to the rap biz, and You Still Here, Ho? was her concentrated effort to prove she could consistently make hits, Fine Ho, Stay is a self-possessed declaration of her own permanence as a fixture in the limelight. It’s also a rock-solid display of her rhyme prowess; while she does her fair share of pop-friendly crooning on “Can’t Stay Mad,” songs like “Clap Sum” and “Neva” can easily be argued as the result of her time spent on the road with some of rap’s most practiced contemporary spitters like Benny The Butcher and Gunna. — A.W.
Fredo Bang — Yes, I’m Sad
It’s been three years since Baton Rouge rapper Fredo Bang emerged with his breakout hit “Top,” which was later boosted by a remix from Lil Durk. He stands tall on his own through honesty and vulnerability, as depicted on his Yes, I’m Sad project. The takeaway from it is that all that glitters ain’t gold, a message Fredo puts forth successfully through songs like “Come Thru” and the project’s sincere title. Still, the gold is very much present in Fredo’s world on “Ring Ring” with Kevin Gates and “Sideways” with NLE Choppa. Fredo’s Yes, I’m Sad acknowledges the hardships in his life, but also pushes himself to do something about and improve the circumstances, a mindset that brings more value to the project. — W.O.
Future and Metro Boomin — We Don’t Trust You and We Still Don’t Trust You
In 2017, Future did something no other artist had ever done before: He released Future (a trap-heavy, bass-knocking rap album) and Hndrxx (a softer, more confessional, and R&B-inspired effort) in consecutive weeks, becoming the first artist to release a pair of Billboard 200 chart-topping albums in the same week. Fast-forward seven years, and Future and Metro Boomin’sWe Don’t Trust You and We Still Don’t Trust You are modeled the same way, respectively. Future’s ability to channel both sides of his artistry and deliver the very best of them multiple times in his career is a feat accomplished by few and dreamed of by many. But for now, we can remember these albums as two of music’s best releases in 2024 and one being the catalyst for hip-hop’s biggest war in decades. — W.O.
GloRilla — Ehhthang Ehhthang
Girls just wanna have fun. For all the hand-wringing about the lack of substance in hip-hop these days (from people who happily did their Stanky Leg and bumped “Tipsy” back in the day), rap music has always been about turning up at parties. Rappers like GloRilla remember this — or, at least, keep the spirit of the function alive in their music — making catchy hits that won’t elicit boos for the DJ who plays them. Ehhthang Ehhthang might be light on deep topics and cultural criticism, but while it runs on club anthems like “Yeah Glo!” and “Wanna Be,” it does have some deceptively heartfelt moments, as well. Even its title is a clever callback to so-called substantive rap, adding a country twist to the title of Lauryn Hill’s 1999 smash hit. — A.W.
Gunna — One Of Wun
The current era of Gunna’s career is one nobody could have predicted five years ago. Once-guaranteed collaborations with Young Thug, Future, Lil Baby, and others are now a thing of yesterday. Today, as Gunna’s fifth album One Of Wun displays, the Atlanta rapper makes the most of his inner circle as the variety and availability of past resources have run dry. One Of Wun is as flashy, slick, and smooth as we’ve known Gunna to be. It’s confirmation that he can present that persona when he pleases. “On One Tonight” is one of Gunna’s best outputs in years while “Hakuna Matata” glides with ease and hits corners with impressive finesse. “Today I Did Good” is a surprisingly bright track that showcases the change in Gunna’s life. One Of Wun escapes the dark of yesterday and runs toward the light at the end of the tunnel, which remains bright for Gunna. — W.O.
J. Cole — Might Delete Later
Nearly a decade after his fellow hip-hop heavyweights, aka Drake and Kendrick Lamar, did it, J. Cole delivered a surprise album of his own with Might Delete Later. Cole surprised fans with the project on the weekend of his annual Dreamville Festival and weeks after Kendrick challenged both Cole and Drake for rap’s crown on his “Like That” verse. The strong output from Cole failed to truly shine thanks his lukewarm Kendrick Lamar diss in “7 Minute Drill,” its eventual removal from streaming services, and Cole’s apology for even responding in the first place. Nonetheless, Might Delete Later is still a strong body of work. “Crocodile Tearz” is an impressive display of Cole on the offensive, and “HYB” with Bas and Central Cee presents Cole in a fun and laid-back state worth bringing out more often than he does. Long story short, Might Delete Later is worth keeping in rotation for a while. — W.O.
Kenny Mason — 9
In the four years since Kenny Mason dropped his debut album, Angelic Hoodrat, he’s seen a fairly prodigious jump in his public profile, landing feature placement on tracks from the likes of J. Cole and JID, touring the nation with Danny Brown and Jpegmafia, and garnering widespread acclaim for his unique blend of grunge, shoegaze, and punk rap. On 9, he expands on that genre gumbo, incorporating features from such wide-ranging sources as trap upstart Babydrill and chillwave pioneer Toro Y Moi. More mellow than alt-rap screamers like Trippie Redd and XXXtentacion, but more introspective than Atlanta peers like Gunna and Young Nudy, Kenny’s in a class of his own, bridging gaps between what works and what’s possible. — A.W.
Kyle — Smyle Again
The recent resurgence of jungle and drum & bass is making me feel young again, and a large part of the reason for that renaissance is Southern California native Kyle. Last year, his album It’s Not So Bad evoked the sounds of the Y2K British rave scene with a palette of 2-step and garage, and Smyle Again (named after his breakout 2015 mixtape Smyle) continued to mine that fertile era from a more hardcore angle. Like its predecessor, it borrows the skittering forceful riddims of 2000s UK EDM and pairs them with the sunny, beach-bred cheeriness Kyle is known for. The result is one of the year’s more innovative projects. — A.W.
LaRussell & Hit-Boy — Rent Due
How exactly does one settle on just one LaRussell project when he’s so prone to releasing multiple in a year’s span? It certainly helps when he brings one of the West Coast’s premiere beatmakers, Hit-Boy, along for the ride. Although Rent Due is only seven songs and 18 minutes long, both collaborators bring their A-games, going in like… well… the rent’s due. What truly impresses is the versatility of the album, from the airy uplift of “Lead Me To The Water” to the boisterous street stomp on “Another One.” The two California natives have unsurprisingly great chemistry and if HB wants to drop another four projects with LaRussell, I don’t think anyone will complain. — A.W.
MIKE — Pinball
MIKE’s drowsy lyrical ruminations have always defied easy categorization, even as they’ve illustrated his broad range of cultural and stylistic influences. In the past, this has often resulted in dense, borderline opaque listens that can get mired in murky soul samples and abstract rhymes. Pinball is a different story, though. Like the arcade games it’s named after, Tony Seltzer’s beats on Pinball instead gives MIKE a lively, bouncy background for his cerebral lyrics, bringing more energy out of him and making it sound like he’s actually having a lot of fun. It’s a needed reminder that thoughtful hip-hop needn’t be boring or super serious to get its point across. — A.W.
Rapsody — Please Don’t Cry
In my interview with Rapsody about her new album, Please Don’t Cry, I called it her best and THEE best hip-hop album of the year so far. I may end up revising that opinion by December, but the bar is going to be really hard to clear. Combining lessons she’s learned from therapy, endless reiteration of ideas, and some of her production teams’ finest work to date, Rapsody has crafted a masterclass in vulnerability, honesty, and lyrical dexterity. “Stand Tall,” “Diary Of A Mad B*tch,” “A Ballad For Homegirls,” and “Forget Me Not” are the sorts of honest, “real” rap writing that fans have been begging for for years. — A.W.
Schoolboy Q — Blue Lips
At this point, few of us, if any, should be complaining about the long wait between Top Dawg Entertainment projects. The last few years have brought projects such as Ab-Soul’s Herbert, Isaiah Rashad’s The House Is Burning, and of course, SZA’s SOS after five-year gaps — an approach that seems to be the recipe for producing some of those artists’ most heartfelt, innovative works to date. Schoolboy Q turns out to be no exception. His latest also arrives five years after its predecessor, Crash Talk, bringing with it the very soul of Los Angeles’ experimental jazz history. An eccentric compilation that never stays in one vibe too long, Blue Lips presents a portrait of a matured, sophisticated gangster. — A.W.
Skilla Baby — The Coldest
Detroit rapper Skilla Baby, fresh off a 12-month run that boosted his stock thanks to songs like “Mama” and “Bae,” showed what he’s really made of on The Coldest. Often mislabeled as a rapper with song’s solely for the ladies, Skilla Baby embraces the title with the flirty and infatuated “Whole Package” with Flo Milli as well as “Wifey” alongside NoCap. However, Skilla Baby is more than just a ladies’ man. He’s a certified hustler on the grim “Mike Jack” and he’s successful one who can brag about his wins on “Richie.” Skilla Baby has the type of duality that one should admire and The Coldest puts it all on full display. — W.O.
Tierra Whack — World Wide Whack
World Wide Whack is perhaps one of the most anticipated hip-hop debuts of the last five years, and it doesn’t disappoint. Tierra Whack had the world in the palm of her hand after her EP Whack World introduced the public to the colorful inner universe of the Philadelphia creative, but then reality stepped in. Tierra’s experiences since then inspired World Wide Whack, which despite its whimsical stylings contains some of her most heartrending music yet. “Two Night” and “27 Club” deliver a one-two punch of empathetic pleas for a more measured reception for the sort of creative personalities that have suddenly become a quite endangered species. — A.W.
Vince Staples — Dark Times
Hometown bias aside, I have long believed that Long Beach rapper Vince Staples has been one of rap’s most quietly insightful, innovative voices since 2014, when I first heard him on Common’s Nobody Smiling single “Kingdom.” Since then, his confidence in his artistic vision has only grown, while his already prodigious talents sharpened in his efforts to bring that vision to grungy, cinematic life. Dark Times is the culmination of that growth, presenting a version of Vince that pairs his photographic observations of life at the bottom of the American pyramid with a collection of instrumentals destined to shatter the last (stupid) arguments against him — you can’t say he picks bad beats now. — A.W.
Ray J is still relevant in 2024. The former R&B singer hasn’t scored a hit in over a decade, but he has continued to remain a cultural presence through interviews and reality TV shows. Why? Well, if you let Ray tell it, because he helped to create the pop culture world in which we currently live. Ray J recently went on Club Shay Shay, and he detailed the very specific ways in which his decisions back in the mid-2000s shaped the way that we consume media.
The bold declaration stemmed from the Kim Kardashian sex tape that was released in 2007. Club Shay Shay host Shannon Sharpe asked about the impact of the tape, and the “One Wish” singer didn’t mince words. “How different would we all be,” he asked in return. “How different would this whole f*cking thing be…How different would this industry be… Everything would be different.” The singer then went on to detail the ways in which pop culture would have differed. “There might not be any OnlyFans and all the things like that,” he posited. “All the opportunities like that… Probably more people would be going to college.”
Ray J Claims “Everything” Would Be Culturally Different
Ray J said the sex tape changed his career, but acknowledged that its impact was not entirely positive. “Are we a part of the cure or [are] we a part of the disease,” he wondered aloud. “I don’t know. All I know is I’m trying to make it right. Shannon Sharpe asked Ray J if he was embarrassed by the tape now, and he took a long pause before answering. “Yes,” Ray J admitted. “I have kids now… Everything I did now when we have kids is just totally different. The whole thing is wacky. With my kids it’s not ok.”
Ray is not the only person who feels as though the sex tape changed everything. Vince Staples has put forth a theory that the R&B singer is the most important person in pop culture over the last two decades. He had an entire GQ interview based around this theory in 2015. “Kim Kardashian is a great person, but Ray J does have a part in giving her such notoriety,” Staples posited. “Ray J is someone whos always in the mix. If you really think about everything thats going on today, Ray J is very, very good at making himself part of the conversation.”
Vince Staples started his world tour in Cologne, Germany, on Monday (June 4). While the US still has a few months to wait before the Black In America Tour, Vince’s Black In Europa leg of the tour gives fans a sneak preview of just what songs he’ll be performing in his 24-song set.
While there are obviously selections from his new album Dark Times, the setlist — which comes courtesy of Setlist.fm — is made up of tracks from all across his recent discography, including his 2022 album Ramona Park Broke My Heart and his 2021 self-titled album. The show concludes with a pair of fan favorites from his first two albums: “Norf Norf” from Summertime 06 and “Big Fish” from Big Fish Theory.
10/14 — Atlanta, GA @ The Eastern*
10/18 — New York, NY @ Terminal 5**
10/20 — Boston, MA @ Roadrunner*
10/21 — Philadelphia, PA @ Franklin Music Hall*
10/23 — Toronto, ON @ History*
10/24 — Washington, DC @ The Anthem*
10/26 — Detroit, MI @ Masonic Cathedral Theatre*
10/28 — Minneapolis, MN @ Palace Theatre*
10/30 — Denver, CO @ Mission Ballroom*
11/02 — Seattle, WA @ Showbox SoDo*
11/03 — Portland, OR @ McMenamins Crystal Ballroom*
11/05 — San Francisco, CA @ The Warfield*
11/06 — Los Angeles, CA @ Shrine Expo Hall*
Vince Staples unveiled his highly anticipated headlining U.S. tour, Black In America, in support of his acclaimed eighth studio album, Dark Times, available now via Blacksmith / Def Jam Recordings. The 13-date tour will kick off on October 14th in Atlanta, GA, and will make stops in major markets across the country, including New York, Boston, Philadelphia, Toronto, and San Francisco, before concluding in Los Angeles on November 6th.
Grammy-nominated singer, songwriter, and producer Baby Rose will join Staples as a special guest for all dates outside of New York. Pre-sales for “Black In America” will begin on Tuesday, June 4th, at 10 AM Local Time, with tickets becoming available to the general public on Friday, June 7th, at 10 AM Local Time.
Fans can find additional details and ticket information by visiting VinceStaples.com. This tour promises to be a must-see event, showcasing Staples’ unique artistry and the powerful themes explored in “Dark Times.” Don’t miss your chance to experience Vince Staples live on stage during the “Black In America” tour.
Last month, Vince Staples unveiled his eighth studio album, Dark Times, via Blacksmith Records / Def Jam Recordings. This album marks a new era in the prolific artist’s career, blending dense lyricism with lush, layered beats, and offering wry, melancholic observations about life, while finding pockets of light in an endless dark.
Dark Times features minimal guest voices, relying on samples, studio friends, and a narrative outro by iconic alt singer-songwriter Santigold, who shares an apocalyptic yet awe-inspiring dream with Staples. Notable moments include the track “Liars,” which incorporates an excerpt from a 1973 conversation between Nikki Giovanni and James Baldwin about Black love, and “Government Cheese,” where Staples raps about an imprisoned friend reaching out after seeing him on TV.
The album balances its introspective themes with celebratory tracks such as “Étouffée,” a bouncy ode to Staples’ Louisiana roots, and “Little Homies,” a message encouraging the younger generation. “Freeman,” the final song before Santigold’s outro, showcases Staples’ reflective coolness.
Ahead of the album’s release, Staples shared the first single and visual for “Shame On the Devil.”
“It’s a testament to where I am right now and how I view things—it’s just a timestamp,” Staples says of the album. “I might not feel like that again tomorrow. But in the process of making this project, these were the things that spoke to me.”
In support of Dark Times, Staples will embark on his headlining BLACK IN EUROPA TOUR, starting June 4th in Cologne, Germany. The tour will visit Berlin, Paris, London, and Manchester before concluding in Birmingham, UK, on June 13. Staples will also perform at various European festivals in August, including Oya in Oslo, Flow Festival in Helsinki, and HipHop Open in Stuttgart. For tickets and the full list of dates, visit www.vincestaples.com/tour.
Vince Staples is back on the road this fall, ready to bring his unique style and energy to fans across North America. With his new album, Dark Times, freshly released, and his Netflix series, The Vince Staples Show, renewed for another season, Staples shows no signs of slowing down. This tour, aptly named the “Black In America Tour,” promises to bring his impressive stage performance to a city near you. The tour will see Staples performing at a variety of festivals and mid-sized venues, kicking off in October and wrapping up in early November. Here’s everything you need to know about the tour dates, ticket information, and what to expect from Vince Staples’ latest endeavor.
Before hitting his North American leg, Vince will spend a majority of his summertime in Europe. On June 4th, he performs in Cologne, Germany before hitting France, UK, and other European countries. However, for the North American stretch of Vince Staples’ “Black in America Tour,’ he will kick things off at the Austin City Limits Music Festival on October 5. From there, Staples will hit major cities across the United States and Canada, performing in iconic venues, like New York City’s Terminal 5, and Toronto’s HISTORY. The tour concludes with a grand finale at the Shrine Auditorium in Los Angeles on November 6.
Ticket Information
Tickets for the Black in America Tour are available on Vince Staples’ official website. Given Staples’ dedicated fan base and the success of his recent projects, tickets are expected to sell quickly. Fans are encouraged to purchase their tickets early to ensure they don’t miss out on this highly anticipated tour.
Cologne, Germany – June 4 – Live Music Hall Berlin, Germany – June 5 – Huxleys Neue Welt Aarhus, Denmark – June 7 – NorthSide Festival Hilvarenbeek, Netherlands – June 8 – Best Kept Secret Festival Paris, France – June 9 – Bataclan London, England – June 11 – Roundhouse Manchester, England – June 12 – O2 Ritz Birmingham, England – June 13 – O2 Institute Barcelona, Spain – June 15 – Sónar Festival Wichita, KS – June 22 – Elsewhere Festival Chicago, IL – August 1 – Lollapalooza Oslo, Norway – August 7 – Øyafestivalen Helsinki, Finland – August 9 – Flow Festival Stuttgart, Germany – August 10 – HipHop Open Austin, TX – October 5 @ Austin City Limits Music Festival Atlanta, GA – October 14 @ The Eastern * New York, NY – October 18 @ Terminal 5 Boston, MA – October 20 @ Roadrunner * Philadelphia, PA – October 21 @ Franklin Music Hall Toronto, Ontario – October 23 @ History * Washington, D.C. – October 24 @ The Anthem * Detroit, MI – October 26 @ Masonic Cathedral Theatre * Minneapolis, MN – October 28 @ Palace Theatre * Denver, CO – October 30 @ Mission Ballroom * Seattle, WA – November 2 @ Showbox SoDo * Portland, OR – November 3 @ McMenamins Crystal Ballroom San Francisco, CA – November 5 @ The Warfield * Los Angeles, CA – November 6 @ Shrine Auditorium & Expo Hall *
(* indicates shows featuring Baby Rose) (Bold indicates tour date)
Vince Staples just dropped his new album, Dark Times, to widespread critical praise. His final album under Def Jam, its release signals a new chapter for the Long Beach rapper, who also just announced the renewal of his Netflix series, The Vince Staples Show, for a second season. Now, he’s hitting the road to promote it on the Black In America Tour, which he announced today. He’ll be supported on the tour by singer Baby Rose.
Running from mid-October to early November, it’s not the longest tour, sticking mainly to major cities, but if you can get to one, it’s sure to be one hell of a show. If not, there are always his performances at a slew of festivals this summer, including Lollapalooza, Flow Festival, and more.
Tickets for the Black in America Tour go on sale Friday, June 7th at 10AM local time. Pre-sale begins Tuesday, June 4th at 10AM local time. You can find more information on VinceStaples.com.
10/14 — Atlanta, GA @ The Eastern*
10/18 — New York, NY @ Terminal 5**
10/20 — Boston, MA @ Roadrunner*
10/21 — Philadelphia, PA @ Franklin Music Hall*
10/23 — Toronto, ON @ History*
10/24 — Washington, DC @ The Anthem*
10/26 — Detroit, MI @ Masonic Cathedral Theatre*
10/28 — Minneapolis, MN @ Palace Theatre*
10/30 — Denver, CO @ Mission Ballroom*
11/02 — Seattle, WA @ Showbox SoDo*
11/03 — Portland, OR @ McMenamins Crystal Ballroom*
11/05 — San Francisco, CA @ The Warfield*
11/06 — Los Angeles, CA @ Shrine Expo Hall*
After landing a recurring role in Abbott Elementary, Vince Staples kept his acting momentum going with Netflix’s The Vince Staples Show. The series was well-received, with a response that has now prompted Netflix to give the program a second season, it was officially confirmed yesterday (May 30).
Staples said in a statement (as Variety reports), “The ‘Vince Staples Show’ is back! The people have spoken and the most riveting, captivating, and polarizing show on Netflix is returning for season 2. Get ready for hijinks that only a mother can love. Thank you, Netflix!”
Netflix and Staples also teased/confirmed the news on social media with straightforward posts.
It would appear that Staples calling his fans to action has worked: In February, in response to a fan asking for more episodes, Staples tweeted, “Netflix didn’t buy anymore episodes so make sure you hit that double thumbs up. Peer pressure works and I’m tryna re up.”
In an Uproxx interview from that month, Staples said, “Hopefully, it performs well and we are able to keep it going. That’s kind of how we got situated over here with Netflix, and I think it came out good. I feel like no matter how it ends up, we gave a round story and gave it some closure, some context. So I think we’ll be good either way.”