There was once a time when Chance the Rapper's career dealt with questions: Where was his life headed? Was God even present in it? Was he becoming the man he was supposed to be? For Chance, his breakout mixtapes 10 Day (2012) and, mainly, Acid Rap (2013) are the summation of those thoughts; still, the answers to those big life questions would come in the months leading to 2016.

An angel named Kensli, his firstborn daughter, entered Chance's life in September 2015, reigniting his relationship with the church and making the manifestations he laced in his rhymes feel so much more obtainable. His lyrics were now full of guarantees, not just goals. On his 2015 single "Angels," he asserted himself as the "blueprint to a real man," and on Kanye West's "Ultralight Beam," he pledged to do a "good-ass job" with his third mixtape, firmly cementing his GRAMMY aspirations on wax. Those promises, driven by his faith, led him to Coloring Book.

On Coloring Book, his third solo mixtape, Chance took a literal leap of faith, introducing elements of gospel music into his art and expanding his artistic reach via A-list collaborations with Kanye West, Lil Wayne, Justin Bieber, Jay Electronica, gospel legend Kirk Franklin and others. The approach paid off: Released in May 2016, Coloring Book ushered in Chance's mainstream breakthrough and marked a turning point for the music industry as a whole. The mixtape became the first streaming-exclusive album to chart on the Billboard 200, peaking at No. 8, as well as the first streaming-only album to win a GRAMMY, including GRAMMY wins for Best Rap Album and Best Rap Performance ("No Problem") at the 59th GRAMMY Awards in 2017; Chance also won the GRAMMY for Best New Artist that same night.

On the road to Coloring Book, Chance the Rapper found God, found his calling as the world's best dad, and found his face all over his Chicago hometown. The groundbreaking mixtape has since led him to the release of Magnificent Coloring World, his new concert film premiering today (Aug. 13) and screening exclusively across AMC movie theaters nationwide. The film chronicles a secret concert Chance filmed in Chicago in 2017 following his historic GRAMMY run.

To celebrate the fifth anniversary of Coloring Book, as well as the release of his coinciding Magnificent Coloring World concert film, GRAMMY.com spoke with Chance the Rapper and some of the collaborators behind the mixtape, including executive producer Peter CottonTale, longtime collaborators Nico Segal and Nate Fox, Kirk Franklin, and others, about the making and ever-evolving legacy of Coloring Book.

The Tide After Surf

Nico Segal, formerly known as Donnie Trumpet, pushed the envelope on Surf, his 2015 album with the Social Experiment, a collaborative group featuring Chance the Rapper, Peter CottonTale, Greg Landfair Jr., and Nate Fox. The album introduced Chance to Chicago Recording Company (CRC), a recording studio in Chicago where he would eventually record and piece together the majority of Coloring Book in early 2016. Where 2013's Acid Rap saw Chance link with the likes of Action Bronson and Childish Gambino, Surf turned it up a notch, introducing him to Busta Rhymes, J. Cole, and the endless possibilities of collaboration.

Nate Fox (Producer/writer): I tend to think about Coloring Book from its very, very beginnings while we were still making Surf. There was a nice crossover, as far as when we were working on Surf and the things we were doing in between. I don't feel like there was any real notable date or thing that happened where we said, "OK, this is the direct start of Coloring Book," because it just kind of flowed really nicely from Surf and all the records that we did in between. And then all of a sudden, we were like, "Are we working on an album?"

Chance the Rapper: Surf was where we started using CRC [studios in Chicago] and doing live recordings of choir and band. For all of my projects, 80% of the projects get completed in the last three weeks; that's how I work. But Coloring Book was based on that live sound, studio recording feel, and with Surf, that was something we figured out toward the end. So there was a time of air mattresses, flying back and forth to different studios to go pick up sessions that we'd left places and trying to piece everything together in this very hectic way. And Coloring Book, from its inception, was like, "I want big choirs, I want the band to be on it, I want to have big features." That was something we never really did on Acid Rap or 10 Day, even though they had big features for me at the time. But it wasn't until Surf that we were like, "I think we can get whoever we want on this: J. Cole, Big Sean, Erykah Badu, Busta Rhymes."

Nico Segal (Producer/writer):  There was some music I can remember that had been made in the Surf era and just didn't fit or just didn't get finished and then ended up being a part of Coloring Book. The main one I can think of is "Drown," which was a beat that I made initially with Noname, and it was made, I'm pretty sure, before Surf. You can kind of tell by even the title "Drown." Chance ended up working on it and really wanted to include it in the story. You never really know how you're going to end up using it. And sometimes, it's really clear, and sometimes it just takes more time. It's actually a really freeing thought, because sometimes in music, it can be really intimidating to be like, "OK, I'm working on this song, or these collections of songs. This is the album, this is it, this is all I can do. This is all it'll ever be."

Chance: A lot of my confidence in being able to get big artists came from working with Nico on Surf and saying that I wanted to get somebody on the song or him saying it. On Coloring Book, I was like, "Oh, there's no way that I'm not going to have Jay Electronica." I just had this new confidence at that time to reach out to people and keep hitting them back over and over again and fly out to some city.

Segal: I think Chance was just naturally also better at what he does by the time we made Coloring Book. I think that's true for all of us—we were all just better musicians and better producers. Not that Surf was like the exercise to get to Coloring Book. But I think with every project, you learn a ton about yourself and about making music in general, and I think it was just a natural progression.

'Let's Do A Good-Ass Job With Chance 3'

During the Coloring Book sessions, and while the rest of the world had no idea what Chance and his team were cooking up, the rapper made a promise on one of the most public platforms imaginable: a Kanye West album. On "Ultralight Beam," the opening track to West's 2016 album, The Life of Pablo, Chance raps, "I made 'Sunday Candy' / I'm never going to hell / I met Kanye West, I'm never going to fail / He said, 'Let's do a good-ass job with Chance 3 / I hear you gotta sell it to snatch the GRAMMY." Kanye, initially, wasn't too into Chance making such declarations, but Chano had a feeling about this one.

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Chance: Having this confidence was a new thing. Acid Rap and 10 Day were a lot about me trying to figure out who I was. Acid Rap deals a lot [with] questions. And I had all these questions for if God is really gonna be there for me, if I'm gonna make it, if I am the type of person I say I am. And then Coloring Book is just a lot of answers. I'm making this decision to be in my kid's life. Beyond being in my kid's life, I'm gonna be a father, I'm gonna be committed to a philosophy of life through what Christ teaches us, and I'm gonna stand on this idea that I can speak things into existence. I rapped on Kanye's s*** right before it came out that I was working on these three GRAMMYs, and I was like, "If I keep rapping like that, and just saying s***'s gonna happen, that's just gonna happen." And it started happening.

Peter CottonTale (Executive producer): In our camp, sometimes we say, "Everything's made up." We create everything. [Chance has] always been claiming his existence or his manifestations in music … And not just through his rap music, but through his daily life, his actions. It just started to explode and flood out on Coloring Book.

Chance: Kanye didn't want me to say that [line] on that song. And I had to go back and forth with him about keeping my line on there. That whole experience of working on [Pablo] was very transformative for a lot of people around me, because I was 40% of the way done with Coloring Book. I was listening to a lot of gospel [then]. So, when I came to the camp, any time I got the aux cord, I was playing Fred Hammond or talking about something I read in the bible. It was a different vibe than what Kanye had hit me up for because I was coming off the heels of Acid Rap. So, I had this different vibe and energy, and it was very well received. Kanye was like, "I wanna have more gospel [moments] on this album," and people eventually started calling it a gospel album. Just being in a position to rap [with] the person who probably is the reason I became a rapper—to be able to produce and write and to be featured on the intro, the first real rap verse you hear on the album, was crazy to me. I was, at that time, speaking it into existence like, "Kanye gonna hit us up soon. You gonna be working with 'Ye soon." And when that happened, I had to keep doing that. I had to keep being like, "I'm gonna just say what's gonna happen."

Chance's Vision And The 17 Air Mattresses That Brought It To Life

The transition from Surf into Coloring Book was seamless, according to Chance's collaborators. Tracks like "Angels" and "Same Drugs" came together pretty early on into Coloring Book. But in the beginning months of 2016, once his vision began to solidify and he knew how distinctly he wanted to talk about faith, thanks to some inspiration from Kirk Franklin records and the world around him, Chance's team made CRC their new temporary home. Chance's daughter Kensli even got an air mattress for the process.

CottonTale: I feel like Coloring Book readjusted all of our sleep schedules permanently. Chance had a lot of family things that he was growing and maturing through. We might have been getting off tour or getting ready for a tour, or something of that sort. But man, it was a lot of figuring out, a lot of traveling. A lot of different studios and inspiration here and there, and then fighting through no inspiration here and there.

Chance: I think I had such a concrete idea of what I wanted to do with Coloring Book that I don't normally have from the jump of a project; I knew the colors of it. I knew the choir aspect. I knew how unapologetically I wanted to talk about this understanding that I had from the jump, from when I first made "Angels." I remember talking about being this blueprint to a real man.

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Saba (Featured artist on "Angels"): Honestly, both of those projects [Acid Rap and Coloring Book] were crazy, and it always feels like extra attention. I'm sure his answer might be different, but for me, my job is to go in the studio and do the best that I can; that's what I feel like I did in both instances. You never know if songs are gonna be released or not, so a lot of times, it's not even worth it to think about extra attention and stuff like that because that's something that could just distract you from the job. I was just happy to be on both, honestly. At the time, those were two of the biggest things that I had done.

Fox: ["Same Drugs"] was such an important song, I'm sure to Chance but to all of us [as well]. It was so beautiful and it was a great example of what we see in Chance as a songwriter every time he touches the pen to the pad, because it's just such an undeniably perfectly written song. From his standpoint, it was very, very important to us that everything about the song and in the song's production matched and was at least equal. I knew we couldn't beat him on this one. But I knew we could at least do everything we could to try to equal what he was giving us.

Segal: He does have that level of intention, in all his words, and he does bring that to the music in general. He understands the full package better than … [most] artists. It's pressure, I guess, to make something on that level with somebody who really cares about the whole package.

Fox: We've never really had deeper conversations or specific conversations about Chance's vision, because he always does a great job of giving you the metaphor or the image that you need to get the job done. And it can be personal to you.

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Chance: [Coloring Book] was a lot about my relationship with God, Chicago, choirs, and all this type of stuff. But the structure of it and the immediacy of it getting finished came because I became a father for the first time. I was 22. I was very, you know, just figuring s*** out still. After I had [Kensli], it made me get a lot more consistency and structure in my life, which was different from how I've been before that s***. I'm still not perfect.

Kirk Franklin (Writer, producer and featured artist on "Finish Line/Drown"): Honestly, I am always humbled when someone tells me I inspired them to create greatness. I am just thankful that God allows me to borrow something from Him every now and then that blesses someone. I know it is not my own lyrics or melody that was the inspiration, but God's. Anytime I can point someone back to the Father, I'll take it.

Chance: It's crazy think to think about [how] my kid was sleeping on air mattresses at the studio. And we were really working hard on that at a time when she was an infant.

Fox: Around that time, we were working on an album for Grace Webber. And as soon as Nico recorded the horns on "All We Got," I was just so gassed ... We hadn't really made much of it yet. As soon as we sent it to Chance, he heard the horns and called us like, "The f*** is this?" And then when he was like, "I'm gonna send this to Kanye…" And then Kanye sent us back this curve, bro. He sent us back the craziest MPC take. I don't know if he listened to a click or if he did it in headphones or if it was just really loud in the studio, it was madness. But we ended up comping a great couple sections, piecing it together.

Chance: [Coloring Book producer] Francis [and the Lights] has this thing where he uses this plug-in, and basically he finessed it where he can choose the harmonies that he sings on top … One of my favorite places that it's used is on Kanye's vocal [on "All We Got"]. And that's how he started working with Francis so closely. I brought him to a session for "All We Got" and had him freestyle sing, while Francis [played] the chords over his vocals; that's what ends up becoming the "music is all we got" [in the song]. I just remember Kanye being so enamored with the sound and with what he could do with his different vocal inflections and what Francis would add as his other vocal harmonies. Just being in a session with somebody I looked up to so much ... It was just crazy.

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CottonTale: Sometimes Chance would reach out to a feature or sometimes we'd be in a certain place and they pull up to us at the studio and we all catch a vibe. Sometimes we'd end up making some beats or chop it up in the studio with Francis, or Kanye just sends a verse. Any artist, any feature, I feel like they just came for it. It was almost like—I don't want to say the rap Olympics, but it was fun to watch people approach Chance's music, the music we were making, in different ways. Here are all different ideas from these different artists. Some that made it on the tape, some that didn't. That process was enlightening, to say the least.

Josephine Lee (President/artistic director of the Chicago Children's Choir, which featured on Coloring Book): It was exciting for all of us—kids and adults alike—to see this artist from Chicago with an extraordinary gift thriving. Our singers could relate to Chance, and they knew they would be part of a history-making experience through this project. We were so honored to embark on this work, and wanted to share our artistry in any way we could.

Chance: "Finish Line/Drown" just went through so many different iterations. That song literally had like 20,000 sessions. Eventually, T-Pain got on the song and made the chorus [with] Kirk Franklin [and] Noname. I think I recorded the verse for that [song] the day before it came out. A lot of stuff that's not industry standard when it comes to how you adjust an album to submit it to a streaming service, a lot of those rules didn't apply at the time for me. Just because we were doing it without a label and I was the person doing it, and I didn't have a deadline or anything.

Franklin: Man, it was such an honor to work with my little bro [Chance] on such an impactful song. Working with Chance isn't like work at all. We are both such creative individuals that there is a natural synergy there. I normally start with the lyrics and melodic line of the words to make sure that the lyrics can stand alone. However, Chance creates sonically, and seeing the sonics speak just as if they were their own lyrical story was amazing. Once the record was cut, I don't think any of us knew how far that song would go.

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Lee: Peter CottonTale called to invite Chicago Children's Choir to take part in the recording. For "All We Got," "How Great" and "Finish Line," we had the music arranged, brought in the orchestra, and recorded the tracks with our singers. When we recorded "How Great," we were all living in this euphoric moment and feeling the power of our voices united for a great purpose. We knew this would be a showcase of the best of what Chicago youth has to offer. Chance was so joyful, and that energy is contagious.

Chance: For "Smoke Break," I got Future's verse literally at midnight right after I uploaded [Coloring Book], so I had to re-upload the album. A lot of last-minute things that came together fell into place, and it always makes me feel really good when I hear someone say the mixtape is perfect. Because it was something that was made with many imperfections and last-minute touches.

Fox: We had some really great talks as a group early on, and we had some moments of realization and really just recognizing how extremely blessed we were to find each other. We all come from different places and have a lot of different upbringings and different family histories. The fact that we were all able, as a group, to come together and recognize those things made us realize that anytime we were working on things together, there was a bigger purpose. It was always important to focus on that, so we never really paid attention to the other things or really had any expectations, either. I guess the expectation was always just to appease God. Ultimately, are we doing it right, you know? Man, if those things felt good, if those things felt right, then I think we were already proud before we put it out.

Release, Reception And Realizations

Coloring Book saw a big release week, and, as the crew recalls, Chance's face was nearly unavoidable thanks to a poster campaign marketing the mixtape. But those posters only showed a fraction of the impact that Coloring Book would ultimately leave. With its legacy still unfolding today, beyond its historic GRAMMY wins, Coloring Book now continues its momentous journey and ongoing evolution via the newly released, massive concert film, Magnificent Coloring World.

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Chance: [When I think of the final tape], I think a lot about the cover art of the project. The cover art was done by this dude, Brandon Breaux. He was an accomplished Chicago painter when I met him as a kid, and he did my first couple of joints. I specifically think of the cover [when I first think of the tape] because he took one of the first pictures of me and my daughter Kensli. But I just think a lot about taking that picture with her and the pride on my face when I was looking at a person who's gonna exist after me and who's gonna have their own ideas and walk around with a very similar face, but a whole different set of experiences. He painted the picture and he would talk about the look on my face and the motivation on my face in the painting that he made. So I always just loved that picture.

Segal: In Chicago on release week, [we were] just completely flooded with his face and this beautiful image; it was a really special moment in the city. Chance was kind of this rising star, but I guess Coloring Book was kind of like, "No, no, he is risen." It was really like, "This dude is a big deal," big superstar-moment just seeing him everywhere and the wave of Coloring Book taking over the city.

Knox: I knew [Coloring Book] was going to be very special from some of the very first sessions I was in. I remember hearing "No Problem" for the first time and hearing Lil Wayne's and 2 Chainz's features and just losing my mind. I didn't think it was going to be as big as it was; I just knew people were going to really like it. But I never anticipated a nomination from any award ceremony. I didn't believe that an independent artist in 2016 was even in consideration for legit accolades, but Chance was the one that showed us you could do it.

Chance: I do remember being sad in the first couple of nights because I was receiving some negative tweets around it. There were a lot of people saying, "Oh my god, it's a f****** gospel album." That was the main conversation around it, like, "This dude tricked us and made a gospel project." That wasn't really my intention. I never wanted to make a gospel album. I like all my projects to talk about some realistic stuff, whatever I'm going through at the moment. Within 24 or 48 hours—I don't remember what it was or if it started receiving positive press, or if I started going outside and seeing actual people tell me how they felt about the project, but I remember at a certain point, just getting past that and feeling loved and well-received. A lot of people wrote about how it brought them back to church on Sunday when they were kids, or brought them closer to Jesus or their faith. And I just remember feeling like, "Damn."

CottonTale: The songs that I did were very, very Christian-based. They had a very gospel or inspirational foundation. I find it kind of scary to be in that space sometimes. But I feel like it was something I didn't expect. But it was something that I was hoping would open doors for people to express themselves, faith-wise, in the hip-hop arena. Kanye said it best: "If I talk about God, my record won't get played." When we won the GRAMMY, it made me feel like those tracks didn't go unheard. There were still people out there like us that listen and believe in God. It was a big eyeopener.

Segal: I often talk about how music is history, cataloguing people's thoughts and the times. Coloring Book was a huge pivotal moment in the music industry where streaming projects and mixtapes got a little bit more clout and a little bit more recognition. The formatting of a traditional album got reworked in everyone's eyes in this very legitimate way via the GRAMMY and via this award or this kind of recognition. I thought it was a really powerful moment in music history, and I was really proud to be part of it.

Chance: It was important to me because I went through this whole thing with Acid Rap where at the time ... streaming services weren't validated by the industry. And SoundCloud and YouTube were kind of considered a nuisance at the time. I was approached a bunch of different times by a bunch of different people that were telling me all I had to do was get an ISRC code, basically like a barcode, on it and sell one copy. And if I sold that one copy, then I'd be eligible. I don't know if it was being young and rebellious, or whatever it was, I was like, "F*** that. I shouldn't have to change for you, you should have to change for me." And I kept that attitude. And also, I obviously didn't want to sign a deal, and I wanted to continue to be able to give people access to my music without having it be a whole thing where they have to pay money or do some sort of buying. And I feel like Coloring Book helped really usher in the new wave of DSPs being considered a real distribution platform or space where music that wasn't 100% bought and owned was eligible for a GRAMMY. I'm happy for added access to music.

Segal: I think that the concept was just new for the whole world. It wasn't just the GRAMMYs, it was everyone that was coming to terms with this streaming world and music just being released in a different way. It was something that really lived on the internet and you really had to be in the know. It changed everything. And now everyone is streaming their albums and doing big deals for streams. Obviously, now the GRAMMYs and other big platforms are recognizing music in this way and from this kind of place. So, I don't think we even had the framework or even the capacity to think of what was possible with this kind of thing, because the whole world was just not really ready for that kind of thing to happen. It takes people like Chance to make that stuff happen.

Segal: We're talking about a project that literally changed the rules. Chance is always doing that. The legacy is ever-changing and ever-growing, and Chance is gonna keep coming up with new rules to break and new ways of pioneering change in the music industry. Coloring Book was probably the biggest step.

Chance: We shot [Magnificent Coloring World] four years ago, and it was an extremely strenuous project. It was a lot, a lot of work. It really speaks to all the things that I learned in the last year making virtual concerts and learning about film. But it really speaks to my resolve and my perseverance, to be able to see it and bring it to life and work out the whole [partnership] with AMC. I'm so, so proud of what we were able to do four years ago, for the project to be in the state that it was [in] even before the edits. It speaks to how polished my team was at the time, and still is to this day, to be able to make stuff like that. There [are] a lot of things to be proud of.

CottonTale: It definitely was a hurdle to figure out how to get it out cinematically, and it worked. It's still enjoyable five years later in different forms. I'm at the screening hearing people sing along. It's such a big inspiration to see some of your work ... Imagine painting something five years ago, and then you put it on the wall and someone's like, "Yeah, that's good. We should make a frame around that."

Chance: When I think about [Coloring Book], I think about my whole life. I think about the fact that I was raised by a dad who was super present, and is still extremely involved in all aspects of my life: family, business, otherwise. I think about the fact that I was raised in a church. And even though I left, Jesus brought me back. I think about the fact that I didn't fold, like I didn't have to change who I was to be in a position to get an accolade like winning a GRAMMY. Coloring Book was the best example of God and teamwork. I say that in the film, too. It's just all these different people, literally hundreds of people, all putting so much time and effort into making it as close to perfect as possible. We all won that night.

CottonTale: I think [Coloring Book's] legacy is still unfolding, but it's changed a lot of lives, and it still proceeds to change a lot of lives. More and more, I hear that it inspired people to produce or inspired people to do certain things. I'm blessed that anything I've ever made or been part of has helped somebody.

Chance: I'm the sum of all my experiences. I wouldn't have been married if it wasn't for my daughter. I wouldn't have found God if it wasn't for my daughter. I wouldn't have won three GRAMMYs if it wasn't for my daughter. The coolest part about seeing [Magnificent Coloring World] was all these people: film critics, artists, publications, fans. They showed me a lot of love, and I could tell people were genuinely proud of the actual film. But none of them measured up to what I saw with my daughter. She was so engaged and so inquisitive about what was happening in the movie. [In the film], there's this whole part where we're talking about the studio and putting together the s***. And my daughter looked up to me and was like, "Wow, you did all this before I was born?" I was like, "No, I did all of this because you were born."

Mac Miller's Victory Lap: Collaborators, Friends Remember Best Day Ever 10 Years Later

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

Every album comes with a backstory, but not many come with two. Rakim's new project G.O.D's Network (REB7RTH), out July 26, came together in a few quick months, from signing a deal in February 2024 to completion in June. The process was spurred by one dedicated A&R person frantically combing through his network of rappers to get guest verses over beats produced by the God MC himself.

But to hear that A&R man, Matt "M80" Markoff, tell it, creating the seven-song project didn't take four months. It took four years.

"I've known [Rakim's longtime manager] Matt [Kemp] and Rakim since 2007," Markoff tells me when I get him on the phone in late June. "They're used to getting calls from me a couple of times a year just for, like, show referrals, verse referrals, things of that nature."

Back at the beginning of the pandemic, Markoff had been talking to the folks at Fat Beats, the venerable record store-turned-distributor that's a huge name in independent hip-hop. He mentioned Rakim's name to the company, and Fat Beats responded that they'd love a project from the God MC. The original pitch, Markoff remembers, was "a three or four song EP with some remixes."

Rakim quoted his price, Fat Beats agreed, and the project was underway, with the emcee meeting with producers to look for beats. But Rakim, who hasn't released a solo album since 2009's The Seventh Seal, is not one to be hurried.

"Ra was having [DJ] Premier and Pete Rock and Ninth Wonder and some of these people come to the studio," Markoff says. "Because of scheduling conflicts and stuff and, you know, normal course of life, it just wasn't right. The vibe wasn't there."

That's where Jazzy Jeff came into play. Rakim and the legendary DJ began working together and, per Markoff, it "just meshed." It seemed like, instead of a handful of songs, a full-length record was in the offing.

"As soon as they finish the first song, I walk into Fat Beats and say, ‘Hey, this is what we're doing now,'" the A&R man recalls. "Instead of Rakim with random producers, it's Rakim/Jazzy Jeff. That'll be huge."

Then…nothing.

A few years pass, and the Rakim and Jazzy Jeff project is still unfinished. (Rakim described its status as "We have a couple records already done.") Fat Beats, which was on the auction block (it was eventually sold in March 2024), wants its money back. Rakim obliges, and everyone seems set to forget about the whole thing.

Markoff, however, was not about to give up on working with the man he calls "my favorite emcee of all time."

The revamped album started its life as not an album at all. Instead, the original conception was a model Markoff had used before: licensing beats by people not typically thought of as producers. In this case, he'd be offering aspiring rappers the chance to get beats by arguably the most influential rapper of all time. 

"He's taken people who are not necessarily known as producers and put together beat packages for them," manager Matt Kemp says of Markoff. "And then, one of the things he does is he goes out and he licenses those beats through a company that he has. If you're a European artist that wouldn't necessarily have access to things like that, you can get it."

So that, as of February of this year, was the (revamped) plan: have Rakim do six beats and one verse, and sell non-exclusive licenses, so that any rapper, anywhere in the world, who wants to use them in a song of their own could do so. This, indeed, was a vision that was followed through all the way to the finish line — you can see the end result released July 12, priced between $700-$1,050 depending on what you want to do with the beats and the rhyme, here.

But along the way to creating that package, things got significantly more complicated. As Rakim was making the beats, he found he really liked them. In some cases, he even wanted to rhyme on them himself.

"As the beats started coming together and Rakim was really in the studio and we started putting the rhymes onto them, we realized that it was bigger just than that [original vision]," Matt Kemp said.

The wheels started turning. Rakim, the God MC, as a producer? That would be a project worth sharing with the world, not just a few aspiring artists.

As it turns out, unbeknownst even to many Ra fans, the rapper has been making beats since the beginning. In fact, he produced — and played drums on — one of Eric B and Rakim's classic songs, 1992's "Juice (Know the Ledge)." So producing an entire project didn't seem like such a big stretch after all. 

"I always was attached to making beats," Rakim explains to me. "But I got to the point where I'm confident with my production now. I got the chance to produce the album and jumped at the opportunity." 

Rakim, as has been well documented over the years, comes from a musical family. His older brother Ronnie was a keyboard player of some note with his own claim on rap history, his other brother Stevie is also keyboardist who performed on some Eric B. and Rakim songs, and the rapper's aunt is the late R&B legend Ruth Brown. So when making beats, Ra will often play drums, bass, guitar, or piano. (He cops to enlisting one of his brothers if the keyboard part gets too complicated.)

He describes his production style this way: "You try to add on to the sample, and enhance certain sounds that you hear. Or you might just add a melody that you feel enhances the sample as well." 

In addition to playing instruments on the project, Rakim also plays the turntable.

"I always knew how to DJ, and I like being able to enjoy the project from a different seat," he tells me. "I enjoyed putting the music together, coming up with the scratch patterns."

So with the musical side of the equation firmly in place, what about the vocals? Rakim was inspired to add verses on a few songs, and hooks on a few more.

"It's mostly a project that I was supposed to be producing," he explains. "In the midst of that, there's certain beats that I'm playing and I'm like, ‘I gotta rhyme on this one,' or, ‘I got a rhyme that fits this one perfectly.'"

The question was, what to write about? After a decade and a half without an album, the rapper had a lot to discuss, and needed to find new ways to say it.

For the project's lead single, "BE ILL," he got in plenty of internal rhymes. And the song's tempo allowed him to come up with different rhythms.

"When tracks are at that speed, I'm able to manipulate time and space to come up with different rhythms because I have so much time and space to deal with," he says. "It was one of them songs I loved rhyming to. Just having fun with words and phrases, and at the same time having so much on my mind to say."

"I'm trying to say a lot of things," Ra admits when discussing his writing on the album. "It's hard to just come back and say a verse when you've been gone so long. So I tried to be very specific and cautious with the words that I chose, and try to be entertaining at the same time. So it was a little nerve wracking."

Even with Rakim's vocal contributions (he ends up with either verses or hooks on six of the project's seven tracks), more was needed to complete the songs. That's where Markoff really got going.

"Literally, I didn't waste a single day," he remembers. "I was calling the artists in my network. I reached out to each artist one by one, and let each artist go through the folder [of beats] with me and make their picks."

Among the artists Markoff reached out to were several members of the Wu-Tang Clan. He has a long relationship with the crew, having worked with them on several projects including the well-regarded 2005 album Wu-Tang Meet the Indie Culture.

Markoff recalls the exact moment when he lined up Wu member Masta Killa for his appearance on what became "BE ILL."

"I was at the first ever Wu-Tang Clan residency in Vegas, and I told Masta Killa, ‘Dude, I just got these Rakim beats 10 minutes ago.' I played 10 seconds of the second beat, which was the beat for ‘BE ILL.' And he was like, ‘That's the one.'" 

A different Wu-Tang show was responsible for one of the album's other notable guest appearances, Cash Money stalwart B.G. The two met at the concert, and the Louisiana rapper was in the studio "48 hours later," Markoff recalls.

For a handful of artists he had good long-term relationships with, Markoff let them choose which of Rakim's beats they wanted to rap over. In addition to Masta Killa, he names Chino XL, Hus Kingpin, 38 Spesh, and TriState as being on that short list. After that, he says, it was all his decision. 

The end result is a list of some of the top rappers in his Rolodex: Kool G. Rap, Method Man, Kurupt, Canibus, KXNG Crooked, Skyzoo, Joell Ortiz, and many more — including an outro from Snoop Dogg. But one of the most surprising things on the tracklist is that a number of the guests aren't alive anymore.

Nipsey Hussle, Prodigy, DMX, and Fred the Godson have verses on the record. All of them were people Markoff had worked with in some capacity over the course of his career. He says that all of the verses were "in my stash or under my ownership." So when he was looking for material for the Rakim project, they were a perfect fit.

The Nipsey Hussle contribution in particular stood out so much that the entire song, "Love Is the Message," was designed around it. The project's engineer placed Neighborhood Nip's verse first, and everyone else listened to that when recording.

"We kind of glorified who he is, and came up with the title ‘Love Is the Message' to put everything in perspective," Rakim tells me. "So everybody vibed off of that and everything that we implemented had to have that feel or had to be in that direction." 

One thing Rakim noticed as he was listening to the contributions coming in? Many of them were paying tribute to him. In particular, B.G. says in his verse that he's "on a song with the greatest." 

"To hear things like that from my peers is a beautiful thing," says Rakim, who also admits to tearing up when hearing Snoop Dogg praise him on the outro of one of the album's songs. "Hip-hop is one of the more, I guess, feisty genres. It's hard to get that love from your peers. So it's a real blessing to hear it from people like that, to hear what they think of you and to say that on records. A lot of people might think that of you, but would never say it on a record."

For Markoff, B.G.'s tribute was particularly meaningful because of the rapper's history. He began his career in a duo, and later a quartet, with another rapper sometimes considered the greatest of all time, Lil Wayne.

"For B.G. to have that history, but acknowledge Rakim — I was speechless," Markoff confides. "It was really cool to see. It's like, ‘I'm not just going to say my partner, my friend, my confidant Lil Wayne's the best because we grew up together.'"

Finally, after all the guest verses came in, the project was ready. Seven songs, entirely produced by Rakim, with raps by him and a broad cross-section of artists. The question, then: what exactly is this project? An album? An EP? Rakim's big comeback? A teaser for his eventual full-length return?

To Markoff, none of these labels are important. He's not concerned about fans being disappointed that a project under Rakim's name features only a handful of the rapper's verses.

 "The fan is going to look at it however they want to look at it," he says. "The negative people will stay negative. It wouldn't matter if it was the greatest album of all time. The positive people that are so grateful that I stepped up to the plate to help bring new Rakim music to the world are going to love it."

After all, he continues, "The whole point originally when we started making it was letting his peers shine on Rakim beats. The fact that this project morphed into something that Rakim literally is on 95% of, I couldn't have asked for more of a blessing."

So Matt Markoff, the boy who fell in love with Rakim's music at 12 is now, three decades later, putting out music from his hero.

"Dream fulfilled," he says right before we hang up. "Now I gotta figure out what I'm going to do for the rest of my life." 

Denzel Curry isn’t typically one for repetition. His recent run of critically acclaimed projects have all contrasted in concept and musicality.

The Miami Gardens native has cascaded through boom-bap, synth-soaked trap metal, and cloud rap throughout his catalog. But on his upcoming project, King of the Mischievous South Vol. 2, Curry returns to the muddied, subwoofer-thudding soundscape that he captured on the first installment back in 2012. 

Curry was just 16 when he released King of the Mischievous South Vol. 1 Underground Tape 1996]. "I was a kid, man," Curry tells GRAMMY.com. "I was just trying to emulate my favorite rappers at the time who really represented the South. That was pretty much what I was on at the time – the Soulja Slims, the No Limits, but mostly Three 6 Mafia. And then I just put Miami culture on top of that."

Curry first explored the rough-cut "phonk" of Southern acts like DJ Screw and Pimp C as a teenager. His first mixtape, King Remembered Underground Tape 1991-1995, caught the attention of then-rising rapper and producer SpaceGhostPurrp. He shared Curry’s project on his social media accounts, making him an official member of South Florida’s Raider Klan.

Read more: A Guide To Southern Hip-Hop: Definitive Releases, Artists & Subgenres From The Dirty South

The now-defunct group is well behind Curry, who’s ascended from the infancy of his early SoundCloud days to mainstream success. But the rapid-fire delivery and hazy, rough-cut sounds of early Southern rap are still soaked into his musical fibers.

Reignited by the same musical heroes that led to Vol. 1, Curry is comfortable in old sonic form. Vol. 2's lead singles "Hot One" (feat. A$AP Ferg and TiaCorine) and "Black Flag Freestyle" with That Mexican OT fully capture the sharp-edged sound that stretched from Port Arthur, Texas to the Carolinas.

The rapper wanted to go back to the KOTMS series nearly a decade ago, but other projects and outside ventures derailed his return. "I tried to do this thing multiple times," Curry tells GRAMMY.com. "I remember revisiting a [social media post] from 2015 that was like, ‘KOTMS Vol. 2055 is now going to be called Imperial.’ I’ve been trying to do this for the longest." 

A string of bouncy, syrup-pouring, and playalistic Southern trap songs led him back to familiar grounds. The new 15-song capsule features Juicy J, 2 Chainz, Project Pat, That Mexican OT, Maxo Kream, and others inspired by the same pioneers that fall below the Mason-Dixon line.

GRAMMY.com sat down with Curry before the release of King of the Mischievous South Vol. 2 on July 19. The "Ultimate" rapper revealed his "Big Ultra" persona, his ability to crank out hits from his bedroom, and his recent discoveries being "outside." 

This interview has been lightly edited for clarity and length. 

What inspired you to revisit the 'King of the Mischievous South' series?

I was making two projects at once, and there was a through-line from the second half of the project. The second one I was working on kind of just manifested itself into what it is today, 12 years later. And it’s called King of the Mischievous South Vol. 2 because it has the same sonics as the first one.

You mentioned Three 6 Mafia being a big inspiration for Vol. 1. But what about Vol. 2? 

The first KOTMS was obviously Three 6 Mafia, and then Lord Infamous was really the person I looked up to, God rest his soul. I get my rap style from him — the rapid flows and stuff like that. You can even hear it on "Walkin’" and "Clout Cobain." But since I’m from Miami, I’m talking about stuff that predominantly happens in Miami. And  I’m influenced by Soulja Slim, Master P, DJ Screw, UGK, Trina, Trick Daddy, and Rick Ross.

How did you juggle the two different projects at once?

When I wasn’t working on one project, I was working on the other one. Sometimes I would be working on the same two projects on the same day. I was like, If this one won’t see the light of day until next year, this one has to hold fans over. And the one that was supposed to hold fans over ended up having a crazy through-line.

What were the studio sessions like?

When it came down to the production, I was just making these songs on the fly. A couple came out of Ultraground sessions, but the majority of the songs were made in my bed — just how it was with the first one. "Hot One" was made in my house downstairs, and "Hit The Floor" was made in a random room in an AirBnb. And I think the rest of the songs were made in an actual studio.

I was just flowing, doing my thing, and figuring things out. I was working on one project, and when I wasn’t getting called back to the studio, I was working on another one on the side. The grind didn’t stop.

Was there an element or feature that you really wanted to explore?

I just knew I wanted certain rappers to be featured on [project]. When I was working on "Set It," I originally wanted PlayThatBoiZay. But he didn’t get the record done or whatever the case may be. So, I sent it to Maxo Kream, and he ended up just doing it. And when I made "Wish List," I got Armani White on it.  Me and him came off of doing "Goated," so getting that record done was really simple. He pulled up to the studio and he said, "This is tight," and then jumped on the record.

Some stuff didn’t make the cut because we couldn’t get certain people. But the majority of the stuff that made the cut, we were like, "Yes, we did that." Then having people like Ski Mask the Slump God, 2 Chainz, Project Pat, and Juicy J — all these guys played a role. I’m getting people from the South, whether they’re from Texas, Florida, or the Carolinas. And even people outside of the South,  like A$AP Ferg and Armani White, they’re all influenced by the same artists. 

Learn more: A Guide To Texas Hip-Hop: Definitive Releases, Artists & Events

Your persona on the album, "Big Ultra." Break that down for me.

This is how the name came about — my boy’s nickname is Mr. Don’t Fold. It’s kind of a play on "Mr. Don’t Play," so we came up with "Big Ultra" because I’m doing "ultraground" stuff. It wasn’t on some superpower s—, it’s just me, pretty much. It’s how I wanted to be presented on this tape. It’s just me at the end of the day, it’s no persona.

You’ve been in the rap game for a while. Do you consider yourself a veteran?

I think I’m mostly in a formation period because my best years haven’t even happened yet. I feel like I’m just getting my reps in, preparing myself for my 30s. You know, going through the bulls—, having good times, having bad times.

By the time I get to 30, 35, and 40 — God willing — I could have a fruitful career and not be backtracked by dumb s—. I see myself as someone with a lot to offer because I’m still young.

Do you care about garnering more fame or acclaim? Or is there no need for it? 

All my projects are critically acclaimed. The main thing is staying good at what I do. That comes with a lot of effort, a lot of studying, and a lot of work. I take pride in my job and I have fun making music.

I think the hardest part is putting myself out there and being visible. I’m starting to understand that’s what I had to do. I got asked the same question five times in a row about when my album was dropping. I’ve been saying July 19 for the longest. Like, people really haven’t been paying attention? C’mon, bro.

What do you feel is the next step?

I’m just trying to be more visible where the younger generation is at. Most people know me for "Ultimate," "Clout Cobain," or the [XXL Freshman Class] Cypher if I’m being totally real with you. But in due time, everybody has blessings in certain parts of their career. And I’ve been blessed to have a career this long.

All I have to do is just deliver, be real with myself, and do what I have to do. I got to lean into being outside. I didn’t know who messed with me or who liked my stuff until I started going outside and talking to people. You never know who rocks with you until you're outside.  

As far as the music and experience, where does the album rank for you?

I didn’t think about where I’d rank this. We had a whole decade of producing great records, and people look forward to the album experience more than the single when it comes to me. This is what it is, and I just want people to enjoy it. It’s not something to put too much effort or thought into. It’s something you can bump into the club, or you could go to a show and turn up to it. That’s where I’m at with it. 

Are there any other sounds or genres you want to explore?

It’s going to happen when it’s supposed to happen naturally. But I do want to explore pop and R&B a year from now. I want people to be able to sing my songs and stuff like that.

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.