For the past 16 years, Boiler Room has usually focused on the here and now, documenting emerging artists, new scenes, and sounds that feel like they’re still taking shape in real time. That’s what makes this week’s programming feel like a deliberate shift in perspective. Instead of focusing on the future, Boiler Room is turning its cameras toward the past, specifically to the foundational figures of Memphis rap who first began recording in the 1990s.

In October, the London crew descended on Memphis to record a string of Boiler Room concerts that are truly unlike any others in the series. Recorded at the legendary Royal Studios–once the home to Memphis soul icons such as Al Green, Willie Mitchell, and Ann Peebles–the Memphis rap-focused showcase featured crunked-out performances from underground legends Tommy Wright III, DJ Spanish Fly, Shawty Pimp, Al Kapone, La Chat, and DJ Zirk. 

Nearly three months later, these performances will finally be available to the public as they’re set to premiere on Thursday, January 22nd on Boiler Room’s channel. For those of you in Memphis, you can join the official watch party at No Comment Wine Bar at 8PM, which promises to feature appearances by many of the legendary rappers themselves. 

For longtime fans and newcomers alike, this Memphis-focused Boiler Room set is a rare opportunity to witness the roots of a genre that continues to shape hip-hop today, framed through the uniquely intimate lens that only Boiler Room can provide.

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New Albums

HEELS – We Look Happy Here

Memphis punk-folk band HEELS had a banner year in 2025, welcoming a new bassist into their lineup and releasing the gritty, roots-infused We Look Happy Here, an album that sharpened their sound without losing its raw, communal edge.

Joe Restivo – A Beautiful Friendship

Jazz guitarist Joe Restivo’s A Beautiful Friendship is a lovingly precise homage to classic 1950s and ’60s guitar records, channeling deep Memphis friendships, working-class swing, and the easy joy of musicians playing purely for the love of it.

Lukah – A Lost Language Found

Memphis rapper Lukah continued his remarkable ascent in 2025 with yet another standout release, reinforcing his reputation as one of the city’s most intellectually fearless voices and an artist clearly poised for a broader mainstream breakthrough.

Lawrence Matthews – Between Mortal Reach & Posthumous Grip

Fans patiently awaiting new music from multi-hyphenate Lawrence Matthews (formerly Don Lifted) were rewarded with Between Mortal Reach & Posthumous Grip, his most ambitious project to date and a bold statement from one of Memphis’s most compelling creative forces.

Above Jupiter – Abscission

Still in high school, Memphis art-rock band Above Jupiter leveled up with Abscission, a concept-driven, analog-recorded album that deepened their beat-forward, guitar-and-synth sound with striking maturity.

Dead Soldiers – CivilWarLand

On their third album, CivilWarLand, Memphis Americana band Dead Soldiers confronted the lingering effects of the Civil War amid a volatile moment in American history, earning apt comparisons to Southern rock icons like The Band.

Frank McLallen – Extra Eyes

After years helping power Memphis rock outfits such as The Sheiks and Ex-Cult, Frank McLallen stepped into the spotlight with Extra Eyes, a lush, psych-tinged solo debut shaped by loss, healing, and rediscovery.

KIRBY – Miss Black America

After four years away, KIRBY returned triumphantly with Miss Black America, a deeply personal love letter to the rural South that blends blues, soul, and gospel to vividly evoke the Mississippi Delta.

Southern Avenue – Family

The Grammy-nominated soul and blues powerhouse Southern Avenue released Family, a genre-spanning celebration of roots and resilience that quickly became one of Memphis’s most acclaimed local albums of the year.

Key Glock – Glockaveli

Memphis rap star Key Glock further cemented his dominance with Glockaveli, a hard-hitting, trap-driven album that balanced streetwise swagger with polished production, reinforcing his place at the forefront of the city’s hip-hop scene.

Shows

Unapologetic’s 10-Year Anniversary Party

On a balmy day in late August, hundreds gathered at Memphis Made Brewing Co. and The Ravine to celebrate a decade of disruption from Unapologetic, the music, media, and apparel collective that has reshaped Memphis music culture.

Missy Elliott at RiverBeat

Choosing a single standout performer at RiverBeat was no small task, but Rock & Roll Hall of Fame inductee Missy Elliott’s larger-than-life career-spanning set emerged as a defining highlight of the festival’s third year.

Memphis Rap OGz on Halloween Night

Memphis Rap OGz—featuring legends Tommy Wright III, DJ Spanish Fly, DJ Zirk, and Gangsta Pat—delivered a spooky, celebratory night of hometown hip-hop history at Minglewood Hall that won’t soon be forgotten.

Talibah Safiya and Marcella Simien at Crosstown Theater

Two local favorites joined forces for a stunning co-billed performance at Crosstown Theater, backed by the immersive visuals of Infinity Stairs. Their soaring vocals and commanding stage presence captivated a sold-out crowd.

Kraftwerk at the Overton Park Shell

Electronic pioneers Kraftwerk brought their Autobahn anniversary tour to the Overton Park Shell, pairing immersive visuals with pristine sound. More than five decades after reshaping modern music, they still sounded like the future.

Herbie Hancock at GPAC

Few artists truly merit the title “living legend,” but Herbie Hancock is undoubtedly one of them. His GPAC performance traced the evolution of jazz from acoustic traditions to funk and fusion, underscoring his enduring influence.

W.I.T.C.H. at Gonerfest

Any concerns about Gonerfest’s move to Wiseacre Brewing vanished once Zamrock legends W.I.T.C.H. took the stage. Their hypnotic Friday-night set stood out as a highlight of an already exceptional weekend.

Kurt Vile and Stephen Malkmus at Raised By Sound Fest

WYXR’s Raised By Sound Fest raised the bar once again as Kurt Vile and Stephen Malkmus transformed Crosstown Theater into a master class in laid-back virtuosity, blending wry lyrics and tangled guitar lines with effortless confidence.

Moments

Central High School Wins Big

Central High School’s jazz band made history by winning first place at the Lincoln Center’s prestigious Essentially Ellington Competition in New York City, besting elite ensembles from around the world. Kudos again to band director Dr. Ollie Liddell and all of the Central High Warriors!

8Ball & MJG at Shangri-La Records’ Lo-Fi in Hi-Fi Series

Shangri-La Records’ ongoing Lo-Fi in Hi-Fi series reached a high point with an intimate conversation featuring 8Ball & MJG, marking the 20th anniversary of On Top of the World and reflecting on their global impact and Orange Mound roots.

Havenhaus Opens Downtown

Havenhaus—an intimate venue tucked behind Earnestine & Hazel’s—opened its doors this year, expanding from DIY house-show origins into a community-focused space dedicated to supporting underground and touring artists.

Inaugural Glo Bash at FedEx Forum

Following a massive 2024, GloRilla celebrated her hometown success with the first-ever Glo Bash at FedEx Forum, a star-studded event that drew fans nationwide and featured Big Boogie, Sexyy Red, Moneybagg Yo, and more.

Saying Farewell to Local Legends

Alongside moments of celebration, Memphis also mourned the loss of beloved music figures including Steve Cropper, Sam Moore, Luke White, Earl the Pearl Banks, Todd Snider, William Bell, and Terry Manning. Their legacies remain foundational to the city’s sound.

Sinners  Soundtrack Recorded at Royal Studio

Music played a vital role in the hit vampire film Sinners, set in the Mississippi Delta. Director Ryan Coogler partnered with Boo Mitchell and Royal Studio to capture authentic, blues-infused sounds for the soundtrack.

A 9-Year-Old Joins Project Pat on Beale Street

Alaynna Doty, the Mississippi pre-teen who went viral for her flawless rendition of Project Pat’s “Chickenhead,” joined the rapper onstage during Memphis’s 901 Day celebration—a joyful, distinctly Memphis moment of civic pride.

The post 25 Memphis Music Moments That Defined 2025 appeared first on We Are Memphis.

GloRilla & Kehlani – “Xmas Time”

GloRilla and Kehlani make an unexpectedly warm pairing on “Xmas Time.” The song feels like the kind of track you play while you’re getting ready to see people you love, or when you’re driving across town as the city lights flicker across the windshield. Kehlani holds down the melodic center, while GloRilla keeps things grounded with her straight-to-the-point delivery. It’s festive without trying too hard, and it taps into that mix of excitement and reflection that always comes with the holidays.

Yo Gotti – “3 Kings” (feat. DJ Khaled & Fabolous)

“3 Kings” features Yo Gotti stepping into the holiday season with his signature swagger, wrapping his well-known street tales in green and red wrapping paper. From bars about a trap house with mistletoe on it to buying his girl a whole business for Christmas, Gotti sets the tone on this track about counting your blessings (and doing a little flexing) at the end of the year.

Indo G – “Frosty the Blowman”

A standout track from Indo G’s hilarious Christmas N’ Memphis album, “Frosty the Blowman” has been floating around Memphis holiday playlists for years, especially among folks who grew up on that classic underground sound. It’s a funny, clever flip on a Christmas standard, unfiltered and full of drug-dealing innuendo. The track probably isn’t one to play during family dinner, but it deserves a spot on your playlist nonetheless.

DJ Paul – “A Xmas Flock”

DJ Paul’s “A Xmas Flock” is what happens when Memphis crunk collides with the holiday season. The Three 6 Mafia veteran puts a heavy and dark flip on the classic holiday tune “Dance of the Sugar Plum Fairy” this is sure to be ringing in your head until 2026. It’s the kind of song you could easily hear at a Christmas party once the energy picks up and the drinks start flowing. Paul keeps it playful but still true to his sound, giving Christmas a little extra Memphis bite.

NLE Choppa – “What a Christmas”

NLE Choppa takes a lighter approach with “What a Christmas,” treating the holiday like another moment to have fun and talk his talk. The song, which features an equal measure of auto-tuned crooning and rapping, feels like something you’d hear playing in the background while everyone’s running around the house. Choppa keeps it simple and catchy, mixing a little humor with the confidence he’s known for.

The post WAMM in Rotation: 5 Memphis Rap Songs for Your Holiday Playlist appeared first on We Are Memphis.

As one fan at the Paris show later wrote “It was a legendary moment. I came back home covered in sweat and with a crazy smile on my face.”

The trio had touched down in each city not just as touring acts, but as cultural ambassadors who helped transform crunk and horrorcore from a regional sound into a global phenomenon.

The tour first came about as a way to help promote the La Chat-focused documentary The Other Queen of Memphis, a short film directed by Belgian artist Luna Mahoux. “Once the documentary was done, Luna helped me put together a tour so that we could so some shows along with the screenings,” explains La Chat. “We decided to make it a whole Memphis-based showcase, which is where Tommy and Spanish Fly came in.”

The tour kicked off at the historical Bourse de Commerce in Paris, a gorgeous exhibition space built in 1763. “It was high, high energy, man” recalls Spanish Fly. “It was off the chain. Performing in this historical museum in Paris is something that nobody there will ever forget.” Chat shared these sentiments, saying “Paris was great and a perfect way to boost everything off. It gave me that motivation. These folks were really live!”

The fact that a group of self-taught rap artists from the streets of Memphis found themselves being celebrated in front of haute Parisian society may seem a bit crazy (including to the artists themselves), but it was yet another example of the Bluff City’s global impact. Although Tommy Wright III and Spanish Fly had previously toured in Europe, this was La Chat’s first time on the other side of the pond. “It was crazy, because outside of the London show, I of course couldn’t understand the different languages, but they would be singing all of my lyrics during the shows,” she says. “I have to shout out the Barcelona show especially…that crowd was amazing.”

Now, the trio–along with the notable addition of Crunchy Black, Gangsta Pat, and DJ Zirk–will be bringing their globe-spanning show back for a homecoming show on Halloween night. On Friday, October 31st, Shangri-La Records is bringing the Memphis Rap Ogz showcase to Minglewood Hall for an epic hip-hop family reunion.

“As far as what I’m expecting for Halloween night? I’m expecting Memphis, mane. I know my people are gonna show out and show love. It’ll be a night to remember,” says Chat. As for DJ Spanish Fly, he promises “a legendary night…Forreal, we’re planning to show up and to show out.”

The post Memphis Rap Royalty Took Europe by Storm — Now They’re Coming Home for Halloween appeared first on We Are Memphis.

Juicy J – “The Sri Lanka Jungle”

Juicy J proves he’s still willing to take chances with his moody, introspective new jazz album Caught Up in This Illusion. There’s a psychedelic stoner haze here that slightly nods to his Three 6 Mafia roots, but it’s a fundamentally different sonic venture than from his elbow-throwing heyday. While it’s hard to choose a favorite from the project, “The Sri Lanka Jungle” is a great laid-back instrumental that we keep coming back to. Even decades into the game, Juicy continues to surprise, reminding us why he’s one of the city’s most enduring voices.

Kirby ft. Big K.R.I.T. – “Miss Black America”

On “Miss Black America,” Memphis-born soul singer KIRBY delivers a stirring anthem that radiates pride, resilience, and elegance. Her velvety vocals float over a lush, retro-soul backdrop, while an excellent Big K.R.I.T.’s feature adds some poetic weight to the affair. Kirby’s songwriting shines with purpose here—this is protest music wrapped in beauty, and hopefully a sign of more music to come.

Lawrence Matthews – “Saint Sebastian (Death Comes a-Creepin’)”

Lawrence Matthews (formerly known as Don Lifted) offers a haunting, genre-blurring meditation on mortality and legacy with “Saint Sebastian (Death Comes a-Creepin’).” The track is steeped in gospel, blues, and experimental soul—evoking the Southern Gothic imagery that has marked much of his more recent work, with a lyrical nod to Goodie Mob that this writer certainly appreciates.. Matthews remains one of Memphis’s most compelling multidisciplinary artists, and this song is another step in his fearless creative evolution.

Slimeroni & Dubba-AA – “Super Trick”

“Super Trick” is the pool side banger we’ve been waiting for all summer and further affirmation of Slimeroni’s place at the forefront of Memphis rap’s next generation. Teaming up with veteran producer Dubba-AA, Slime rides the beat with her signature gruff yet playful style, putting every man who may cross her path on notice. You’ve been warned…

Spek Was Here – “Makumbi”

Spek Was Here delivers something cinematic and spiritually charged on his new single “Makumbi,” blending soulful vocal chops, hard Afrobeat-esque drums, and ambient textures into a track that feels both grounded and otherworldly. The local producer and artist has been quietly carving out his own lane in experimental hip-hop and beat-making, and this track is proof of his growing mastery. There’s a meditative quality to it, but it still knocks—a tough balance to strike.

The post WAMM in Rotation: 5 Songs for August ’25 appeared first on We Are Memphis.

The “Stuntarious” Series

If there were a cheat code to understand what Unapologetic stands for as succinctly as possible, it would be the Stuntarious series, five mixtapes released at various points throughout the years. Launched in the early days of the label, these collaborative mixtapes became semi-annual checkpoints of the collective’s evolution — chaotic, confident, and creatively unhinged. Blending trap, punk, R&B, spoken word, and experimental electronics, each Stuntarious release acts as both a time capsule and a manifesto. 

Unexpected Collaborations

In 2018, Ballet Memphis invited Unapologetic to participate in their fall program with an inspired blending of ballet and hip-hop, marking the beginning of a remarkable series of unconventional collaborations. Since then, the collective has partnered with a wide range of organizations beyond the music scene, including the PGA Tour, Memphis International Airport, and local cultural institutions like the Metal Museum and the Memphis Zoo. Whether or not it seemed to make sense on paper, each collab has proven to be a resounding success.

Indie Memphis Block Party

Speaking of partnerships, in 2019 Unapologetic curated a raucous Indie Memphis Film Festival block party that transformed the family-friendly Overton Square area into a high-brow, politically-tinged showcase that would make Kendrick Lamar proud. For those who were lucky enough to be there, the performance cemented the label’s reputation for high-concept DIY events in the starkest terms possible. One could argue that the group has outdone themselves since, but there’s nothing quite like your first time.

The Unapologetic World App

Launched in 2017, the Unapologetic World App was an early sign that the label simply wasn’t interested in playing by industry rules. Designed as a digital home for everything Unapologetic (music, visuals, films, interviews, live streams, and exclusive content), the app has remained a reliable one-stop-shop for dedicated fans. 

Unapologetic Garments

After making waves in music, art, and digital media, it was only natural that Unapologetic would dive into fashion with Unapologetic Garments. Since its launch, the label has emphasized original design, quality craftsmanship, and community storytelling, offering everything from graphic tees and hoodies to limited-edition merch that blends art and fashion. Their 2024 collaboration with the Memphis Grizzlies marked a milestone—bringing their signature aesthetic to a wider audience through the “Gold Collection,” a line that captured the city’s grit and pride while celebrating Memphis’ sports culture.

The Opening of Outerspace

In November 2022, Unapologetic celebrated the grand opening of Outerspace, their new studio nestled in the heart of Midtown. The studio acted as a physical manifestation of both the label’s meteoric growth and the bright future that they envisioned. Visually stunning and meticulously planned, Outerspace isn’t just a studio—it’s a sonic launchpad, designed to foster collaboration, vulnerability, and the boundary-pushing ethos that defines Unapologetic. 

A Weirdo from Memphis’ Gonerfest Performance

Photo by Laura Jean Hocking

Over its two-decade run, Gonerfest has seen its share of unforgettable sets from punk and garage heavyweights like Jay Reatard, Ty Segall, and King Khan. But even the most seasoned festivalgoers were caught off guard by A Weirdo From Memphis’ wildly unhinged—and undeniably electric—performance in 2022. By the time he scaled the stage at Railgarten, any lingering hip-hop skeptics in the crowd had been thoroughly won over by the beautiful chaos. 

Midnight Marauder Series

Last year, Unapologetic introduced a new series at MOSH called Midnight Marauder (shouts to ATCQ!). Designed as a public celebration of beat culture, the series highlights producers, beatmakers, and electronic artists as performers in their own right. Unlike traditional beat battles, Midnight Marauder centers on musical expression and live performance. As IMAKEMADBEATS put it, “This is not a beat battle, it’s a beat performance.” 

IMAKEMADBEATS Releases WANDS

Strictly as a piece of music, IMAKEMADBEATS’ 2024 release WANDS is a landmark release for the label–abrooding, richly textured instrumental project that showcases his signature ability to evoke emotion without a single lyric. Beyond the music itself, though, WANDS marked a significant moment in the artist’s journey: a deliberate and personal return to the forefront of music-making after years focused on building his Unapologetic label and nurturing other artists.

A Glimpse into the Future

While many of the artists who first defined Unapologetic’s first era remain central to its identity, the rise of Kid Maestro as the label’s leader, the emergence of bold new voices like EILLO and Nubia Yasin, and the company’s expansion into bold new fields make it clear the collective is constantly evolving. If the past decade was about breaking molds, the next era promises to redefine them entirely.

The post A Decade of Disruption: 10 Iconic Moments From Unapologetic appeared first on We Are Memphis.

Lukah ft. Killer Mike- “South Still Speaking”

Lukah has yet to drop an album that doesn’t leave a lasting impression, but with Statik Selektah behind the boards, he may have found his ideal collaborator. It’s a pairing that recalls the magic of Clipse with Pharrell or Freddie Gibbs with Alchemist—an unmistakable chemistry that sharpens both sides. That dynamic is on full display in “South Still Speaking,” a standout track from Lukah’s excellent new album A Lost Language Found, featuring a blistering guest verse from Killer Mike and both Lukah and Statik operating at peak form.

Diplo Ft. Project Pat & Juicy J- “Flashlight”

Diplo might not be riding the wave of chart-topping hits like he was ten years ago, but when the moment calls for it, he still knows how to captivate. His longtime love for Memphis hip-hop shines through in this collab with local legends Project Pat and Juicy J, sparking one of his most impressive tracks in recent memory. Expertly pairing two horrorcore icons over a sample of a beloved Radiohead song? That’s classic Diplo.

Porcelan- “Winner”

R&B fans know a thing or two about waiting—whether it’s for Frank Ocean, D’Angelo, or Rihanna, patience comes with the territory. Fortunately for fans of Memphis’ own Porcelan, that wait has finally paid off. Her new single, “Winner,” is a slow-burning, soulful anthem that blends sensuality, lyrical wit, and a confident sense of self. It’s a striking return that reminds listeners exactly why she’s one to keep watching.

Virghost- “NBFAM Pts. 1 & 2”

When Virghost opened “NBFAM Pt. 1” with the line “Heath Ledger to you every day clowns,” it was clear we were in for another sharp, standout moment from the underrated Memphis MC. Backed by KingPin Da’ Composer’s soulful production reminiscent of the “old Kanye,” these twin singles showcase the kind of chemistry and craftsmanship that put Virghost and his team firmly among the best of Memphis’ current wave of homegrown talent.

Lawrence Matthews- “Breonna’s Curse”

Since stepping away from the Don Lifted moniker, Lawrence Matthews has reemerged with a bolder, more rap-forward sound that highlights both his versatility and evolution as an artist. But with his latest single, “Breonna’s Curse,” he circles back to the lush, emotive textures that first drew listeners in. The track confronts the tragedy of Breonna Taylor with unflinching honesty and urgency—qualities that have long defined Matthews’ most powerful work.

The post WAMM in Rotation: 5 Songs for July ’25 appeared first on We Are Memphis.

What started as a local scene rooted in homemade tapes and underground shows evolved into a massive cultural movement, one that laid the blueprint for the modern sound of hip-hop—from Atlanta’s trap to the brooding aesthetic of SoundCloud rap. Unsurprisingly, the city’s once-underground rappers slowly but surely entered the public consciousness and began to appear in songs by artists that would have once been unimaginable. Here are 5 of our favorite unanticipated Memphis rap collaborations throughout the years.

 “Cowboy”-Selena Gomez and Benny Blanco ft. Glorilla

When GloRilla showed up on the outro of Selena Gomez and Benny Blanco’s “Cowboy,” it was one of the more unexpected genre crossovers in recent memory. Known for her gritty voice,rowdy energy, and commanding presence, GloRilla typically thrives in hard-hitting Southern beats with minimal polish. “Cowboy,” by contrast, is a dreamy, country-pop slow-burn soaked in acoustic textures and soft emotion—a sound world far removed from the visceral energy of “F.N.F.” or “Tomorrow 2.”

The result was a moment that felt more like a novelty than a natural fit. While GloRilla’s charisma is undeniable, her short verse felt shoehorned into a song that wasn’t built to support her distinctive cadence or energy. It wasn’t a total mismatch, but the tonal gap between Selena’s delicate vulnerability and GloRilla’s tough-talking swagger left a slight dissonance. For a better (if a little  less surprising) example of Big Glo flourishing as a guest, (re)listen to Tyler, the Creator’s “Sticky.”

“Candy and Her Friends”-The Black Keys ft. Lil Noid

Underground legend Lil Noid’s appearance on the Black Keys’ track “Candy and Her Friends” was a surprising–and slightly awkward– fit, blending the raw energy of Memphis rap with the band’s blues-rock sensibilities. The collaboration was born out of The Black Keys’ deep appreciation for Lil Noid’s 1995 album Paranoid Funk, which Dan Auerbach described as a constant source of inspiration during the making of their album Ohio Players.

Although one can certainly quibble about whether the collaboration was ultimately successful, it makes for a fun and light-hearted moment between two artists that we would have never imagined working together.

“Gold Teeth”-Blood Orange ft. Project Pat & Gangsta Boo

I can still remember the first time I saw Project Pat and Gangsta Boo’s names on the track list for Blood Orange’s Angel Pulse. “Please let this be as good as I know it can be,” I told myself with a mixture of excitement and slight dread. Of course my worry was in vain, as “Gold Teeth” remains one of my favorite Memphis rap crossovers in recent memory.

As we’ve come to expect, both Pat and Boo (RIP) bring the heat in their verses,  contrasting yet complementing Blood Orange’s smooth, soulful melodies and introspective themes. In short, “Gold Teeth” is a compelling example of how artists from different genres can come together to create something fresh, emotionally resonant, and genre-defying.

“Dark Horse”-Katy Perry ft. Juicy J

Poor Katy Perry…It’s been a tough year so far for the fallen pop princess and part-time “astronaut,” so much so in fact that it can be hard to remember just how massive she once. In case you need a reminder, her inescapable 2013 hit “Dark Horse” went 15x platinum and it’s only her third biggest hit! But I regress. The point is, despite the fact that Juicy J was already a well-known figure among rap fans, he was still a surprising choice to accompany the world’s biggest pop star.

The song, which puts a pop sheen on the type of brooding production that Juicy J helped to make famous, was an important bridge into the mainstream for the rapper and produced the immortal and controversial bars “She’s a beat, I call her karma/ She eat your heart out like Jeffrey Dahmer.”

“I’m That Girl”-Beyonce ft. Princess Loko

The first voice we hear on Beyonce’s blockbuster album  Renaissance isn’t that of Queen Bey herself, but of a little known rapper named Princess Loko. Drawing from the late rapper’s fierce verse on Tommy Wright III’s “Still Pimpin,” the sample is more than a sonic nod — it’s a reclamation and celebration of underground Southern hip-hop, particularly the raw, aggressive energy of women like Loko who helped shape the genre’s legacy. By layering and repeating Loko’s chant of “you motherfuckers ain’t stopping me,”, Beyoncé gives a largely unrecognized pioneer her flowers while grounding her album in the unapologetic confidence of the women who came before. The sample sets the tone for Renaissance’s theme of empowerment, defiance, and homage to Black musical innovation. Long Live Loko.

The post Feature Shock: The 5 Most Unexpected Memphis Rap Features In History appeared first on We Are Memphis.

May 23: Playa Fly- “Movin On’”

Like nearly all of the artists featured in the “Lo-Fi in Hi-Fi” series, Playa Fly never managed to fully break out of the underground, yet his influence continues to permeate the culture. An early affiliate of Three 6 Mafia before a notoriously hostile falling out, Playa Fly established himself as one of the city’s breakout stars in the 1990s. Movin’ On, his 1998 sophomore album, remains a Memphis rap classic and features the beloved regional singles “Nobody Needs Nobody” and “I-B-N.”

June 27: Tommy Wright III- “On the Run”

While Tommy Wright III will likely never receive his proper accolades for being a progenitor of Memphis rap–and therefore a godfather of crunk, trap, and all of its many other offshoots–it has been heartening to see the OG finally receive at least some of his flowers in recent years, including a production credit on Beyonce’s massive Renaissance album. Nowhere is Tommy’s influence more clear than on his 1996 magnum opus On the Run, a lo-fi masterpiece that still sounds ahead of its time.

July 25: Gangsta Pat- “Deadly Verses”

An early master of the triplet flow and one of the pioneers of horrorcore, Gangsta Pat is amongst Memphis’ most important artists of the 1990s. His 1995 album Deadly Verses found the rapper exhibiting a newfound maturity–both stylistically and in terms of subject matter–over some of the best beats of the era. Clocking in at a succinct 45 minutes, Deadly Verses is the definition of “all killer, no filler.”

August 22: La Chat- “Murder She Spoke”

Alongside the late, great Gangsta Boo, La Chat helped to smash through Memphis rap’s glass ceiling and pave the way for other women such as Trina, GloRilla, and Megan Thee Stallion. Best known for her association with the Hypnotize Minds, La Chat first broke into the public consciousness with her star-making guest feature on Project Pat’s classic “Chickenheads.” The following year, she released her debut album Murder She Spoke, which proved that she could be just as ruthless and nasty as any of the men in her camp.

September 26: Gangsta Blac- “74 Minutes of Bump”

If you were lucky enough to be in Memphis during the summer of 1999, you can probably remember the absolute chokehold that his regional hit “S.O.U.T.H. Parkway” had on the radio waves. The breakout hit from his classic 74 Minutes of Bump led many new fans to discover the Memphis rap O.G., who has already been in the game for years. As the title promises, Blac does indeed deliver over an hour of “bump” in this essential project.

October 24: Kingpin Skinny Pimp- “King of Da Playaz Ball”

First making waves as a frequent guest throughout Three 6 Mafia’s debut album Mystic Stylez, Kingpin Skinny Pimp was one of the city’s biggest underground stars throughout the 1990s. His 1996 debut King of Da Playaz Ball, which features some of DJ Paul’s finest production work, proved that he could shine as a solo artist and remains one of the defining projects of its era.

To learn more about the series and for a list of special guest speakers, visit https://www.memphislofiinhifi.com/.

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Last month, Memphis rapper Bleu Levees dropped his latest project The LSD Tapes Vol 1. The experimental EP spans 3 tracks – all of which impressively showcase his growing stylistic range while still maintaining a cohesive narrative. This duality is no happy accident. To say Bleu Levees is an intentional artist would be an understatement. Every note, every word, every visual is crafted with purpose. We sat down with the rapper to discuss his creative process, becoming a father, and what other projects he has in store for 2024.

Why don’t you start by telling us about your background. How did you start making music?

I’m originally from New Orleans, Louisiana, but I grew up with both the Memphis and New Orleans cultures because my mom’s from Memphis and my dad’s from New Orleans. When Hurricane Katrina hit, my family and I left the city and moved to Memphis. I was around 11 at the time. 

I didn’t really start doing music until, like, maybe tenth or eleventh grade. I actually first started with poetry. I would write poetry in the back of the class because I was kind of the quiet, shy kid in class. Then I met Berry (shoutout my boy BerryThaGoat) and he really got me into actually expressing myself as an artist. 

So, it kind of took someone else to bring you out of your shell and believe in your talent.

Yea, it took others to kind of bring out my, I guess, creative side and just be more vocal. I feel like with music in general, it allowed me to kind of have a voice outside of having to speak to people to express myself. 

Berry was known as a rapper, but I would kind of play around. I had maybe two pages of poetry and raps written. Out of nowhere, he looks at me and was like, “don’t you rap a little too? You should come spit something,” but I was too nervous so I just gave him my poetry to read and walked away. I actually nervously walked around the school (laughs).

When I came back, I was kind of expecting him to be laughing at my writing, but he was like, “oh this is GOOD.” And we just started hanging out. I would come over to his house and practice writing music. I would watch him create so I could learn how. I think that entire summer after tenth grade I would just be over at his house and we would be writing and releasing music.

How did you come up with the name Bleu Levees?

I actually released my first album under my real name, Michael. I didn’t change my name until like 2017 when I decided to put my music on Spotify in a more professional way.

Bleu Levees came about because I just kind of played on kind of where I’m from and where I wanted to go. I call myself Blue, just like an ode to New Orleans, and like that side of myself. Also, the levees – if the levee didn’t break I wouldn’t be here.

I also wanted to be like a mental levee for people listening to my music – they can kind of chill and not feel all the pressure. Blue I also correlated with Memphis for the Blues and the blue color with Memphis. So, I kind of feel like that all mixed together really nicely.

You touched on the mix of cultures and influences you grew up with, which makes sense because your music really is a blend of different sounds and genres. I’m guessing you have a wide range of artists that inspired you. What are some of your main musical influences?

Honestly, I was a big nu metal fan. I get bored easily so I really moved away from what was “mainstream” or on the radio. I would be listening to Linkin Park, Korn, Gorillaz – Gorillaz is a big influence on me visually and sonically. Then I would say hip-hop wise for sure Lupe Fiasco, Kanye West, and Kendrick Lamar.

I was also around people who were schooling me on the real history of Memphis rap. So, I got really into like Tommy Wright III, Lord Infamous, Project Pat, Juicy J, Three 6 Mafia, all of that as well.

You also have a very carefully curated artistic aesthetic. It’s clear that you have a specific idea for the visuals that go along with your music. How important is that whole package to you?

I’m a real cinema head (laughs). I just love movies and I love the weird, like underground movies. I love Japanese movies or horror movies – those are probably some of my favorite genres. But I would watch movies and pay attention to what music they paired with each scene, so I guess that correlation was there from the jump. Even when I was younger, I would listen to music and come up with videos in my head so now I write music and already have a visual in my head. I really feel like I’m slick writing music to my own movie. 

Do you want to write your own movie?

Yea, I’m working on scripts now actually – just like a movie and TV series. It’s kind of hard to balance everything out time-wise, you know? To do music professionally, plus the business side and then these other creative things. But it is something I wanna definitely do.

You recently announced that you’re expecting your first child. How do you think that might change you as an artist?

I think it’s already kind of changing me. It’s making me a lot more comfortable being myself. I feel like it’s gonna make me more vulnerable too, which I’m happy for, and I actually want. I think it would be great for my music and my creativity in general. 

I think, too, since I am having a baby girl, it will make me a little bit more aware of what I’m saying and doing, because I know she’ll be listening to my music. So, now I’ll be thinking, “how will she interpret this?” 

I know you’re the type of artist that’s constantly working. Who have you been linking up with lately?

I’ve been working with a producer named EMPEE, he’s a producer for a Memphis group Iron Mic Coalition – they’re like the Memphis Wu-Tang, they’ve been around for the longest. He’s one of those old school producers who just has records and records all around his house and because of that, he introduced me to some completely new artists and new sounds. Like I just watch him work on different samples…I really don’t know anybody that has beats like him. He’s kinda like my superpower.

I’m also working with my boy, AClef Vibes. He’s more, I would say, Memphis trap rap. So, I have this duality in my music because EMPEE does more a boom bap style, like a dark boom bap style, and AClef does more the trap style. Oh, and I can’t forget my boy, Spek. He’s heavy on my album. He’s crazy, his stuff is just crazy.

That’s super dope. Do you have any other Memphis artists that you’ve been working with or want to work with?

Producer wise, IMAKEMADBEATS and I have been working together – we actually got something else that’s coming out. 

Artist wise, I definitely want to work with PreauXX, for sure. I’d love to work with Goldie Rebel, he’s hard. He’s got like a Larry June, Premo Rice type of vibe. I’d love to link up with my boy Coffey…he’s very experimental and I love that. There’s a million others in my head too (laughs).

Let’s talk about your new project, The LSD Tapes Vol 1. This EP feels much more confident and experimental than your last album, A Shade of Bleu. What influenced this project and how did your creative process differ from before?

The LSD Tapes was really made when I was over at my boy EMPEE’s house and he was just playing a bunch of different stuff. I think we were watching this movie. I like to do that – play music, and then I’ll just put a visual or something from YouTube on. 

There’s a full movie on YouTube called The Trip with Peter Fonda from, like, the sixties. It’s about a director that takes LSD for the first time because he’s depressed while going through a divorce. So, he’s playing music and we’re watching this and I’m like “oh what if we do like a tape like that.” So that was our concept and he would just send me beats and I would play around with them and really experiment. LSD is an experience and that’s what I wanted to craft – I wanted it to sound like a full experience without necessarily having to take anything.

Also, this came around a time where it felt like a lot of things in my life were like dying, but in a good way. Situations were ending and I was starting a new chapter. In this sense, the LSD actually stands for Lovely Sorted Death – where it’s all about letting go of things and having a, like, rebirth.

What else can we expect from you this year?

I’m working on my actual album now, it’s gonna be called The Way of the Cat. But in the meantime, while working on The Way of the Cat, I want to put more music out. I want to do more for the LSD Tapes series. My vision is that this project is just volume 1 of 3. I like to work in threes.

I also want to do more shows at art galleries or even kind of a secret, invitation only type night. A secret show. I just want to make it more of an experience because, you know, music is an experience. With me, just expect the unexpected.

The post Catching Up with Memphis Rapper Bleu Levees About His New EP, Influences, and Impending Fatherhood appeared first on We Are Memphis.