Rap music has undergone seismic evolutions since the GRAMMYs gave the first Best Rap Album award to Naughty by Nature’s Poverty’s Paradise in 1996. The genre encompasses so many styles and global communities that it may seem impossible to pick just five out of countless releases to represent the year’s best. However, major statements still matter.

The 2022 nominees for Best Rap Album at the 65th GRAMMY Awards have undoubtedly made a cultural impact — whether it’s on the charts, or among listeners who fervently debated their qualities. This year’s lineup spans generations, from '90s rap veterans like Pusha T and It’s Almost Dry; to superstars like Future and I Never Liked You, DJ Khaled and GOD DID, and Kendrick Lamar and Mr. Morale and the Big Steppers; and relative newcomers like Jack Harlow and Come Home the Kids Miss You.

View the complete list of 2023 GRAMMY Award nominees across all 91 categories.

Future — I Never Liked You

Released in April 2022, Future’s ninth album I Never Liked You found him refining his sense of rap bravado and soulful vulnerability with strong results.

"I’m putting myself out there. Sharing my lifestyle with the world. Sharing my pain with the world," he told GQ magazine. The album was buoyed by a major Billboard  No. 1 single, "Wait for U," where he and guest Drake confessed their romantic insecurities atop a sample of Tems’ R&B gem "Higher." 

I Never Liked You also includes  the woozy melodic hit "Love You Better," and the brash trap banger "Keep It Burnin’" with Kanye West. Future also collaborated with Gunna, Young Thug, and EST Gee; a deluxe edition of I Never Liked You added pairings with Babyface Ray, Lil Baby and Lil Durk.

Jack Harlow — Come Home the Kids Miss You

Jack Harlow’s second album Come Home the Kids Miss You not only established him as a major star, but as the biggest rapper to emerge from Louisville, Kentucky — a fact he references in lyrics as well as a highly publicized appearance at the 2022 edition of the Kentucky Derby.

Harlow often speaks of his commitment to Louisville, and album tracks "State Fair" and "Talk of the Town" reveal his conflicted feelings about the ways  fame has changed his relationship to the city that made him. However, it’s that sense of place — as well as singles like "First Class," his hit interpolation of Fergie’s "Glamorous" — that help him stand out among hip-hop’s mainstream firmament. Guests on Come Home included Pharrell Williams, Drake, Justin Timberlake, and Lil Wayne.

DJ Khaled — GOD DID

Miami DJ and producer DJ Khaled specializes in star-studded, culture-shifting albums, and his 13th album is no exception. The Billboard chart-topping GOD DID includes appearances from nearly every significant mainstream rap figure: Drake, Lil Baby, Future, Travis Scott, Gunna, Roddy Rich, Latto, City Girls, 21 Savage and Jadakiss.

Yet the coup de grâce is the title track, where Rick Ross, Lil Wayne and newcomer Fridayy set the stage for one of Jay-Z’s most memorable verses in recent memory, all while John Legend sings the chorus. Of course, Khaled always reserves one track on his albums for Caribbean sounds in a clear nod to his Miami roots. For GOD DID, that’s "These Streets Know My Name," a cipher between Skillibeng, Buju Banton, Capleton, Bounty Killer, and Sizzla.

Kendrick Lamar — Mr. Morale and the Big Steppers

Kendrick Lamar’s first album in over five years continues his legacy of complex album-length statements. Mr. Morale and the Big Steppers is structured as a two-part "double album" within which Lamar documents his struggles with fame, fatherhood, and family history.

Meanwhile, the music is garlanded with the sounds of tap-dancing children, courtesy of twin brothers Freddie and Theodore Tisdale. While Mr. Morale can be provocative — the controversial "We Cry Together" is an angry rap argument between Lamar and guest Taylour Paige — there are plenty of joyful tracks like "Die Hard," a collaboration with Blxst and Amanda Reifer. Other guests on the Billboard chart-topping album include Lamar’s cousin Baby Keem as well as Summer Walker, Ghostface Killah, Kodak Black, Sam Dew, and Beth Gibbons.

Pusha T — It’s Almost Dry

Since debuting in Clipse with twin brother Gene "No Malice" Thornton in the late '90s, Pusha T has been acclaimed as one of the genre’s best rappers. But it wasn’t until his fourth solo album, It’s Almost Dry, that he finally scored a chart-topping hit.

The album splits production between longtime collaborators Kanye West — Pusha is president of West’s GOOD Music imprint — and Pharrell Williams, his mentor and collaborator on Clipse’s classics. Lyrically, Pusha T refines his persona as a heartless drug dealer, using it as a metaphor for his dominance in the rap game. Guests include Jay-Z, Kid Cudi, Lil Uzi Vert, Don Toliver, and Nigo. A final track, "I Pray for You," reunites him with No Malice, who split from Clipse and became a Christian artist several years ago.

2023 GRAMMY Nominations: See The Complete Nominees List

GRAMMY winners Kendrick Lamar and Mustard have long repped their California roots. Earlier this summer, their powerhouse anthem "Not Like Us"  brought West Coast rap back to its roots and shone a global spotlight on the scene. 

Lamar and Mustard are at the forefront of a renaissance in West Coast rap. Their shared roots in Southern California cities — Mustard from Los Angeles and Kendrick from Compton — adds authenticity and resonance to their partnership. Their undeniable chemistry was on display in the video for "Not Like Us," which received a million views less than an hour after its release.

Mustard's signature beats and Lamar's profound lyricism has resurfaced the sound and culture that makes West Coast rap so unique and paved the way for a new generation of artists. All signs suggest that another impactful collaboration may appear on Mustard's upcoming album, Faith of A Mustard Seed.

Learn more: A Guide To Southern California Hip-Hop: Definitive Releases, Artists & Subgenres From L.A. & Beyond

Kendrick Lamar headlined the electrifying Pop Out concert on Juneteenth, which also featured sets from Mustard and DJ Hed. The event saw a handful of L.A. rappers, opening for Lamar in a showcase of  the vibrant talent that defines the region's rap scene.

The West Coast is a vast reservoir of talent, stretching from the Bay Area to Seattle. At the heart of this creative expanse is Los Angeles, which brings fresh perspectives, innovative styles, and renewed energy to hip-hop, ensuring the genre thrives. With the stage set for these newcomers to shine, it's the perfect time to take a closer look at some of the rising talents poised to impact the rap scene. While this list only scratches the surface, it offers a glimpse into the diverse and exciting talent from SoCal, the epicenter of the West.

Arising from Los Angeles, Blxst initially played the background as a producer but soon demonstrated his ability to excel across all facets of music creation. Blxst's breakout moment came with his platinum-certified single "Chosen," which solidified his place in the music industry. His collaboration on Kendrick Lamar's "Die Hard" from Mr. Morale And The Big Steppers further showcased his skill for crafting hooks that elevate tracks, resulting in two GRAMMY nominations.

As he prepares to release his debut album, I'll Always Come Find You on July 19, Blxst stands at a pivotal point in his career. With a great resume already to his name, his forthcoming album promises to showcase his undeniable talent and leave a lasting impact on the West Coast music scene.

Bino Rideaux is a South Central native and frequent collaborator with the GRAMMY-winning rapper Nipsey Hussle. He is the only artist to have a joint project with Hussle, No Pressure, released before the prolific rapper's untimely death. Rideaux has hinted at having a treasure of unreleased music with Hussle, saved for the perfect moment and album.

Rideaux  is known for creating tracks that get the city outside and dancing. He has made three beloved projects with Blxst, titled Sixtape, Sixtape 2, and Sixtape 3 resulting in sold-out shows and a special place in West Coast Rap fans' hearts. Endorsed by industry heavyweights like Young Thug, Rideaux continues to carve his path at his own pace. His journey is nothing short of a marathon, echoing the enduring legacy of his mentor.

Read more: Nipsey Hussle's Entrepreneurial Legacy: How The Rapper Supported His Community & Inspired Rap's Next Generation

Kalan.FrFr, whose name stands for "For Real For Real," is an artist whose music is as genuine as his name suggests. Growing up in Compton and Carson, Kalan.FrFr has always stayed true to his roots, and exudes the unyielding confidence essential to making it in the City of Angels.

His breakthrough mixtape, TwoFr, showcased his ability to shine without major features, delivering verses with catchy hooks and melodic rap. He's shown he's not confined to one sound, delivering vulnerable tracks like "Going Through Things'' and "Never Lose You." His EP Make the West Great Again, Kalan.FrFr both proves his loyalty to his origins and highlights his versatility. Kalan.FrFr's signature punch-in, no-writing-lyrics-down style keeps his fans on their toes, ensuring that whatever comes next is unpredictable but authentic.

Jayson Cash, a rapper hailing from Carson — the same city as TDE artist Ab-Soul — stays true to West Coast rap, from his lyrics to his beat selection. Listening to Jayson Cash's music is like diving into a vivid life narrative. His prowess as a lyricist and storyteller shines through in every verse. He gives his fans an insight into his journey, making it a relatable music experience.

Cash made waves with his debut mixtape, Read The Room, and scored a Mustard beat on the song "Top Down." Two years later, their collaboration continues, with Cash writing on Mustard's upcoming album. Though often seen as an underdog, Cash is not to be underestimated, earning cosigns from West Coast legends like Suga Free and Snoop Dogg. His latest project, Alright Bet, includes a notable feature from Dom Kennedy.

310babii has achieved platinum-selling status at just 18 years old, while successfully graduating high school.  Yet 310babii's career began in seventh grade, when he recording songs on his phone showing early signs of motivation and creativity. His 2023 breakout hit "Soak City (Do It)" quickly gained traction on TikTok — and caught the ears of Travis Scott and NFL player CJ Stroud.

As the song grew in popularity, it led to a remix produced by Mustard, who invited the Inglewood native to join him onstage during his set at The Pop Out. 310babii's innovative spirit shines through in his distinctive visuals, exemplified by the captivating video for his song "Back It Up." His recent debut album, Nights and Weekends, released in February, underscores his evolving talent and promise within the music industry.

"Honestly, I feel like a zaddy," Omar Apollo says with a roguish grin, "because I'm 6'5" so, like, you can run up in my arms and stay there, you know what I mean?"

As a bonafide R&B sensation and one of the internet’s favorite boyfriends, Apollo is likely used to the labels, attention and online swooning that come with modern fame. But in this instance, there’s a valid reason for asking about his particular brand of "zaddyhood": he’s been turned into a Bratz doll.

In the middle of June, the popular toy company blasted  a video to its nearly 5 million social media followers showing off the singer as a real-life Bratz Boy — the plastic version draped in a long fur coat (shirtless, naturally), with a blinged-out cross necklace and matching silver earrings as he belts out his 2023 single "3 Boys" from a smoke-covered stage.

The video, which was captioned "Zaddy coded," promptly went viral, helped along by an amused Apollo reposting the clip to his own Instagram Story. "It was so funny," he adds. "And it's so accurate; that's literally how my shows go. It made me look so glamorous, I loved it."

The unexpected viral moment came with rather auspicious timing, considering Apollo is prepping for the release of his hotly anticipated sophomore album. God Said No arrives June 28 via Warner Records.

In fact, the star is so busy with the roll-out that, on the afternoon of our interview, he’s FaceTiming from the back of a car. The day prior, he’d filmed the music video for "Done With You," the album’s next single. Now he’s headed to the airport to jet off to Paris, where he’ll be photographed front row at the LOEWE SS25 men’s runway show in between Sabrina Carpenter and Mustafa — the latter of whom is one of the few collaborators featured on God Said No. 

Apollo’s trusted co-writer and producer, Teo Halm, is also joining the conversation from his home studio in L.A. In between amassing credits for Beyoncé (The Lion King: The Gift), Rosalía and J Balvin (the Latin GRAMMY-winning "Con Altura"), SZA ("Notice Me" and "Open Arms" featuring Travis Scott) and others, the 25-year-old virtuoso behind the boards had teamed up with Apollo on multiple occasions. Notably, the two collabed on "Evergreen (You Didn’t Deserve Me At All)," which helped Apollo score his nomination for Best New Artist at the 2023 GRAMMYs. 

In the wake of that triumph, Apollo doubled down on their creative chemistry by asking Halm to executive produce God Said No. (The producer is also quick to second his pal’s magnetic mystique: "Don't get it twisted, he's zaddy, for sure.") 

Apollo bares his soul like never before across the album’s 14 tracks,  as he processes the bitter end of a two-year relationship with an unnamed paramour. The resulting portrait of heartbreak is a new level of emotional exposure for a singer already known for his unguarded vulnerability and naked candor. (He commissioned artist Doron Langberg to paint a revealing portrait of him for the cover of his 2023 EP Live For Me, and unapologetically included a painting of his erect penis as the back cover of the vinyl release.) 

On lead single "Spite," he’s pulled between longing and resentment in the wake of the break-up over a bouncing guitar riff. Second single "Dispose of Me" finds Apollo heartsick and feeling abandoned as he laments, "It don’t matter if it’s 25 years, 25 months/ It don’t matter if it’s 25 days, it was real love/ We got too much history/ So don’t just dispose of me." 

Elsewhere, the singer offers the stunning admission that "I would’ve married you" on album cut "Life’s Unfair." Then, on the very next song — the bumping, braggadocious "Against Me" — Apollo grapples with the reality that he’s been permanently altered by the love affair while on the prowl for a rebound. "I cannot act like I’m average/ You know that I am the baddest bitch," he proclaims on the opening verse, only to later admit, "I’ve changed so much, but have you heard?/ I can’t move how I used to."

Given the personal subject matter filling God Said No — not to mention the amount of acclaim he earned with Ivory — it would be understandable if Apollo felt a degree of pressure or anxiety when it came to crafting his sophomore studio set. But according to the singer, that was entirely not the case.

"I feel like I wouldn’t be able to make art if I felt pressure," he says. "Why would I be nervous about going back and making more music? If anything, I'm more excited and my mind is opened up in a whole other way and I've learned so much."

In order to throw his entire focus into the album’s creation, Apollo invited Halm to join him in London. The duo set up shop in the famous Abbey Road Studios, where the singer often spent 12- to 13-hour days attempting to exorcize his heartbreak fueled by a steady stream of Aperol spritzes and cigarettes.

The change of scenery infused the music with new sonic possibilities, like the kinetic synths and pulsating bass line that set flight to "Less of You." Apollo and Halm agree that the single was directly inspired by London’s unique energy.

"It's so funny because we were out there in London, but we weren't poppin' out at all," the Halm says. "Our London scene was really just, like, studio, food. Omar was a frickin' beast. He was hitting the gym every day…. But it was more like feeding off the culture on a day-to-day basis. Like, literally just on the walk to the studio or something as simple as getting a little coffee. I don't think that song would've happened in L.A."

Poetry played a surprisingly vital role in the album’s creation as well, with Apollo littering the studio with collections by "all of the greats," including the likes of Ocean Vuong, Victoria Chang, Philip Larkin, Alan Ginsberg, Mary Oliver and more.

"Could you imagine making films, but never watching a film?" the singer posits, turning his appreciation for the written art form into a metaphor about cinema. "Imagine if I never saw [films by] the greats, the beauty of words and language, and how it's manipulated and how it flows. So I was so inspired." 

Perhaps a natural result of consuming so much poetic prose, Apollo was also led to experiment with his own writing style. While on a day trip with his parents to the Palace of Versailles, he wrote a poem that ultimately became the soaring album highlight "Plane Trees," which sends the singer’s voice to new, shiver-inducing heights. 

"I'd been telling Teo that I wanted to challenge myself vocally and do a power ballad," he says. "But it wasn't coming and we had attempted those songs before. And I was exhausted with writing about love; I was so sick of it. I was like, Argh, I don't want to write anymore songs with this person in my mind." 

Instead, the GRAMMY nominee sat on the palace grounds with his parents, listening to his mom tell stories about her childhood spent in Mexico. He challenged himself to write about the majestic plane tree they were sitting under in order to capture the special moment. 

Back at the studio, Apollo’s dad asked Halm to simply "make a beat" and, soon enough, the singer was setting his poem to music. (Later, Mustafa’s hushed coda perfected the song’s denouement as the final piece of the puzzle.) And if Apollo’s dad is at least partially responsible for how "Plane Trees" turned out, his mom can take some credit for a different song on the album — that’s her voice, recorded beneath the same plane tree, on the outro of delicate closer "Glow." 

Both the artist and the producer ward off any lingering expectations that a happy ending will arrive by the time "Glow" fades to black, however. "The music that we make walks a tightrope of balancing beauty and tragedy," Halm says. "It's always got this optimism in it, but it's never just, like, one-stop shop happy. It's always got this inevitable pain that just life has. 

"You know, even if maybe there wasn't peace in the end for Omar, or if that wasn't his full journey with getting through that pain, I think a lot of people are dealing with broken hearts who it really is going to help," the producer continues. "I can only just hope that the music imparts leaving people with hope."

 Apollo agrees that God Said No contains a "hopeful thread," even if his perspective on the project remains achingly visceral. Did making the album help heal his broken heart? "No," he says with a sad smile on his face. "But it is proof of pain. And it’s a beautiful thing that is immortalized now, forever. 

"One day, I can look back at it and be like, Wow, what a beautiful thing I experienced. But yeah, no, it didn't help me," he says with a laugh. 

Legendary Virginia Beach rap duo Clipse have mostly been on ice since 2009's Til the Casket Drops — and that decade and a half off ends now.

The duo, composed of brothers and rap phenoms Pusha T and Malice, is back with a new, John-Legend-featuring song, "Birds Don't Sing," from a reunion project whose title has yet to be disclosed. Listen to a preview of the new song, their first new track as the Clipse since 2009, below.

It's bracing to hear purveyors of witty, sneakily profound coke raps get real about the deaths of their parents: "Lost in emotion, mama's youngest / Tryna navigate life without my compass," King Push raps at the outset. "Some experience death and feel numbness / But not me, I felt it all and couldn't function.”

It only gets realer from there: "You told me that you loved me, it was all in your tone / 'I love my two sons' was the code to your phone," Malice raps in his verse. If "Birds Don't Sing" is any indication, Clipse's first album in forever will be illuminating indeed.

We don't know much about the "Grindin'" hitmakers' reunion album, other than what Pusha T and Malice revealed in a wide-ranging Vulture interview. But for hip-hop fans, the breadcrumbs they dropped are enticing indeed.

It Will Reflect The Clipse's Maturation

Pusha T is vocal about hating the Pharrell-produced Til The Casket Drops, which has always left their story hanging. They seem to be all in on this LP — one that's designed on their own terms.

"I think the album shows the supreme maturation of a rap duo," said Push. "I think this is where you get the difference between taste and filler. This music is curated. This is a high taste-level piece of work.

"You can only have that level of taste when you have the fundamentals down to a science," he continued. "I think it's been definitely missing. Then there's the competitive aspect." Added Malice: "This is smart basketball. It's fundamentals."

Read more: For The Record: How Clipse's Lord Willin' Established Virginia's Foothold In Rap

Pharrell Williams Produced The Entire Album

Despite Pusha T's reservations about Til The Casket Drops, Pharrell Williams has been an integral part of the Clipse's operation since the beginning — and he returns to produce the new project.

"Pharrell producing everything is also an ode to the type of music and the type of albums we want to make," he added. "We still want to make full bodies of work. These are movies, man. These aren't just songs. This isn't just a collection of joints we went in and banged out."

Maturation Doesn't Mean Abandoning Coke Raps

As Pusha T points out in the interview — yes, they rap about selling coke, but to reduce it to that is to miss the point entirely.

"There's no way that you can listen to that level of storytelling and experience and just walk away just saying 'That's coke rap.'" Malice says. "If you just want to say that it's just crack rap, then you can't even assess what's really being said or what's going on."

Indeed, what the Clipse staked their claim on isn't off the table. In fact, it's lined up and ready. 

Get Ready For A Bona Fide Clipse Era

As Pusha T stresses, this Clipse revisitation will come from multiple directions: "Appearances, touring, and a rap album of the year" are coming down the pike.

As more information about the forthcoming Clipse album flows in, keep GRAMMY.com bookmarked so you know the details — as these fraternal MCs join forces once more.

Metro Boomin has spent more than a decade redefining rap music. The gloomy, 808-induced trap beats that flood radio airwaves and blare from nightclub speakers are a symbol of his influence. But now, the Atlanta-based superproducer is on one of his biggest musical runs to date.  

In April, Metro released the second of two joint albums with Future, hinted at a third release this year, sold out a concert at the Kundalini Grand Pyramids in Egypt, and clinched the No. 1 spot on Billboard’s Hot 100 with "Like That" featuring Kendrick Lamar. He also delivered a first-of-its-kind instrumental diss aimed at Drake called "BBL Drizzy," accusing the Toronto rapper of going under the knife.  

The diss was in response to Drake’s "Push Ups" and subsequent disses toward Kendrick Lamar. "Metro shut your hoe ass up and make some drums" he rapped. The verbal blow inspired Metro to release the hilarious instrumental, which he encouraged fans to rap on for a chance to win a free beat.  

Months before the feud, Metro celebrated two nominations for Best Rap Album and Producer of the Year, Non-Classical at the 66th GRAMMY Awards. While he didn’t take home a coveted golden gramophone, the momentum has elevated his career to new heights.  

Before the St. Louis-bred producer kicks off the We Trust You tour with Future on July 30, revisit 10 of Metro Boomin's biggest releases.  

"Karate Chop" (2013) 

A 19-year-old Metro crafted his first charting single right before making a life-changing move to Atlanta. With piercing synths and bubbly arpeggios, the song was the lead single for Future’s highly anticipated sophomore album, Honest. 

But Metro, a freshman at Morehouse College at the time, wasn’t sold on its success. "I never really like it," Metro told XXL. "Then every time people would come into the studio, he would always play the record and I was like, ‘Why are you so stuck on this s—? We have way harder records.’"  

But after cranking out a new mix on the original track, "Karate Chop" went on to become his first placement on a major label album. The remix with Lil Wayne further elevated the record and, by virtue, Metro’s profile as a musical craftsman.  

"Jumpman" (2015) 

 Metro mastered the late-summer anthem in 2015 with "Jumpman." The song was the most notable hit from Drake and Future’s collaborative mixtape, What a Time to Be Alive, and went on to shut down bustling nightclubs and obscure strip joints. And while the record didn’t perform as well as other songs on this list, it secured Future his first Top 20 hit.  

The song — which features Metro’s signature bass and a screeching raven sound effect — also saw a streaming boost after an Apple Music commercial featuring Taylor Swift rapping to the song. According to Adweek, the campaign helped generate a 431 percent increase in global sales 

 What makes "Jumpman" even more special is that a collab between Future, Metro, and Drake may never happen again. Reportedly, the duo is at odds with Drake because the OVO artist decided to link with 21 Savage on Her Loss instead of doing a follow-up project with Future.  

"Father Stretch My Hands Pt. 1" (2016) 

"Father Stretch My Hands Pt. 1" is the song that set Kanye West’s album, Life of Pablo, ablaze. Opening with a clip of gospel musician and singer T.L. Barrett’s Father I Stretch My Hands,” Metro’s signature producer tag kicks the record into full gear. The pulsating synthesizers and bouncy percussion match West’s raunchy and sexually explicit lyrics.  

Metro’s production received significant praise, with several publications pointing to his contributions on end-of-year listings. And in the eight years since its release, "Father Stretch My Hands Pt. 1" has been certified six times platinum by the Recording Industry Association of America, making it one of Ye’s most-sold records of all time. 

"Congratulations" (2016) 

After the success of "White Iverson," a young Post Malone was on the hunt for the hottest producers in the rap game. He managed to land Metro, who worked with fellow producers Frank Dukes and the prolific Louis Bell on the triumphant trap record "Congratulations."  

On a 2022 episode of the podcast "Full Send," Metro revealed that the celebratory song was made after watching the world’s greatest athletes eclipse historic feats of their own. "I remember the Olympics was on TV, and just how the music was sounding, it sounded like some champion s—," he said.  

"Congratulations" marked Post Malone’s second Top 20 hit following his debut, "White Iverson." The song was certified diamond after totaling more than 11 million combined sales. Today, it remains one of Metro’s biggest achievements.

"Bad and Boujee" (2017) 

Fueled by virality and a shoutout from Donald Glover at the 2017 Golden Globes, the Migos and Lil Uzi Vert’s "Bad and Boujee" landed Metro Boomin his first No. 1 Billboard hit as a producer.  

The song has every element Metro fans have grown to love: moody keys, hard-hitting bass, and plenty of room for the artists’ adlibs to pierce through the track.  

Two months before its eventual ascension, the song had a steep hill to climb atop the Billboard charts. But Metro’s production and the chemistry between Quavo, Offset, and Uzi helped the record shoot up to its rightful place. It continues to garner praise In the years since its 2016 release, too. It was ranked No. 451 on Rolling Stone’s "500 Greatest Songs of All Time" list 

"Mask Off" (2017) 

When "Mask Off" dropped in 2017, it scorched the Billboard charts. Hip-hop was flirting with flutes (as heard on songs like Drake’s "Portland" and Kodak Black’s "Tunnel Vision" — another Metro-produced beat) — but "Mask Off" stands out as the biggest song of the short-lived era.  

Metro infused jazz-like undertones to perfectly meld the flute lick into the dark and mystic beat. The record led to the remix with Kendrick Lamar, with his verse breathing new life into the already-seismic hit. It’s now certified nine times platinum.  

Years after the song’s release, Future said "Mask Off" initially put radio programmers in disarray. In his East Atlanta rapper’s Apple Music documentary The WIZRD, he revealed that the song dropped before Carlton WIlliams’ "Prison Song" sample was officially cleared. "Out of all the songs, ‘Mask Off’ wasn’t even legit," he said. "The s— was on the radio, they’re thinking it’s not a sample, but it got so big they were like, ‘It’s a sample.’" 

"Heartless" (2019) 

The Weeknd's "Heartless" is a pop and electro-clash classic that fires on all cylinders. The visuals are atmospheric, the lyrics are ultra-stimulating, and the production — partly handled by Metro — makes for a lasting club banger.  

The leading single for The Weeknd’s fourth studio album, After Hours, topped the Billboard charts. It marked the Toronto-born crooner’s fourth No. 1 hit and unveiled the depths of Metro’s musical arsenal.  

Metro produced four tracks on After Hours: "Faith," "Escape from L.A.," "Until I Bleed Out" and "Heartless." On the latter and in his other collaborations with The Weeknd, James Blake, and Solange, Metro’s creative sorcery was tested. He proved, once again, that he could generate a hit outside the confines of trap music.  

"Creepin’" (2022)

After a solid outing on his first album Not All Heroes Wear Capes, Metro returned with another series of hard-hitting records. His second solo venture, Heroes & Villains, featured John Legend, Don Tolliver, Travis Scott, and other premiere artists. But the biggest song to come out of the star-studded lineup was "Creepin’" featuring 21 Savage and The Weeknd.  

The only single to Metro’s second solo album struck sonic gold. The Weeknd’s flowy vocals overlay the silky and harmonic record, which transitions to a more trap-induced beat once 21 Savage’s verse kicks in. The remake of Mario Winans’ "I Don’t Wanna Know" was a notable departure from Metro’s past singles, which heavily lean on his trap roots. But it still managed to connect with his audience – and even beyond it. "Creepin" peaked at No. 3 on Billboard, which was Metro’s highest-charting solo record up until that point.

Spider-Man: Across The Spider-Verse (2023) 

Following the success of "Creepin’" and his other smash singles, Metro extended his creative powers to the film world. He was given the green light to executive produce the soundtrack for Sony’s Spider-Man: Across the Spider-Verse. 

Metro Boomin told Indie Wire that he crafted songs from rough animations and selected scenes "just to get in the world and the story of Miles [Morales] and what he’s going through," He even exchanged phone calls and texts with the film’s composer Daniel Pemberton to ensure the soundtrack and score were on the same accord.  

From the classical serenade "Am I Dreaming" to the Latin swing of "Silk & Cologne" and the Timbaland-stomping "Nas Morales," the result was an equally transformative musical experience. Each record ranged in musicality and tone while beautifully complementing the vibrant animated superhero flick.

"Like That" (2024) 

"Like That" is easily one of the best beats in Metro’s catalog, and may end up being one of the most memorable. Samples from Rodney O & Joe Cooley’s "Everlasting Bass" and Eazy-E’s 1989 classic "Eazy-Duz-It" shaped the bouncy trap beat, sinister synths, and spine-chilling baseline. But Kendrick Lamar’s verse turned it into a heat-seeking missile.  

With the song’s thunderous bass and rapid hi-hats in the background, Kendrick dissed J. Cole and Drake for their recent claims of rap supremacy, particularly on 2023’s "First Person Shooter." The lyrical nuke sparked the Civil War-style rap feud, which led to a seven-song exchange between Kendrick and Drake.  

The initial musical blow made the genre stand still. It also led to the massive success of the record, which notched Future and Metro another No. 1 hit song. It also helped the pair’s album, We Don’t Trust You, claim the top spot on the Billboard 200 albums chart.  

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer