For decades, hip-hop was regulated to New York, even though its musical stylings traveled to neighboring cities such as Boston and Philadelphia. In those cities, hip-hop was a cultural production of the city’s individual sound and history, rather than that of an entire region. 

The power of L.A.'s  emergent style of gangsta rap was the first attempt by an outsider to change hip-hop. As L.A. rappers began to give those from NYC rappers a challenge, the surrounding cities were solidified under the East Coast banner. 

Often lost in the retelling of hip-hop’s birth are cities, regions and states in between the coasts. This absence may be due to the concentration of record labels and media corporations on the East and West Coast, or ill-informed beliefs that classify sections of the nation as backwards.

But expressions of hip-hop are expansive, and its culture is well represented in the South. A geographical region far larger than the coasts, the South stretches from Texas to Virginia. Along state lines, hip-hop finds itself at the intersection of Southernness and Blackness, leading to the creation of myriad subgenres. 

Hip-hop sound traveled to New Orleans, where bounce was born in the city’s housing projects, and to Memphis where it became buck and crunk. In Atlanta, snap and trap music reign supreme, while electronic bass booms along the beaches of Miami. In every state, hip-hop took on a new voice, new moniker, and new identity. 

With each innovation, the sound was able to expand beyond state lines to a diverse, wide ranging language along the region. Instead of accommodating the voices of the East or the West, the South a.k.a. the Third Coast entered into hip-hop with something to say in its own language. 

Listen to the Spotify playlist below or visit Amazon Music, Pandora and Apple Music and take a journey through the diverse sounds of Southern hip-hop.

A Brief History Of Dirty South Hip-Hop

The birth of Southern hip-hop begins at the 1995 Source Awards, where Atlanta based hip-hop duo OutKast won Best New Artist and Best New Rap of the Year for their debut album, Southernplayalisticadillacmuzik. As André 3000 and Big Boi walked on stage, they were put with a chorus of boos. Although the ceremony was held at the height of East vs. West Coast rivalry, the coasts agreed on a singular purpose: The South had no claim to hip-hop.

There’s one thing the coasts don’t know about Southerns, especially Black Southerners. When your people and community have been culturally, socially, and politically oppressed, a few boos don’t feel like much. This resistance was evident in André 3000’s impassioned delivery of an acceptance speech, that served not only as a rebuke of bicoastal elites but a reverent call to arms for every rapper in the Southern United States.

"It’s like this though. I’m tired of folks. You know what I’m saying? Close minded folks. You know what I’m saying? It’s like we got a demo tape and nobody wants to hear it. But it’s like this. The South got something to say. That’s all I got to say."

Those words, uttered by a young André 3000, echoed through the South. Although the Atlanta group was the first Southern group to achieve mainstream recognition  for their work, the first Southern hip-hop group to reach commercial success was the Geto Boys from Houston. Texas — a state, which is often referred to as its country, an amalgamation of different regional dialects and sounds — laid the foundation for André’s charge.

After the duo left The Source Awards stage, they swore to Goodie Mob, another Atlanta based group in attendance, "One day they’re gonna have to f— with us." Months after the 1995 Source Awards, Goodie Mob released their own critically acclaimed debut, Soul Food. The album propelled Southern hip-hop to the masses, and featured a track entitled "Dirty South." The term, first used by Atlanta rapper Cool Breeze, gave a name to the burgeoning hip-hop movement south of the Mason-Dixon line.

Instead of rejecting the coastal elitism of hip-hop, the Dirty South embraced it — in fact they sold it. Rappers from the Dirty South did not emulate New York or L.A style;  they reinterpreted and investigated cultural perceptions and stereotypes about being country, backwards, forgotten to the time and the nation. Southern rappers also interrogated America’s past, present and future. For Black Southerners — whose cultural hallmarks and cornerstones are distinctly entwined with remnants of the Confederacy, the Klan, and the Civil Rights movement — hip-hop gave the ability to document a region and people lost to the American consciousness. 

The aesthetics of Southern hip-hop were rooted in the power and reclamation of things once thought to be country: Gold dental crowns evolved into grills; the four pack of oversized white tees from the dollar store became a nightlife staple; André 3000, Pastor Troy, Lil Jon and Ludacris reinterpreted the Confederate flag. The attire of strippers from across the South became the blueprint for women’s fashion. Cash Money introduced "Bling Bling" into the American consciousness.

While East Coast rap was heavily influenced by musical stylings of immigrants from the Caribbean with notes of funk and soul, rap in the Dirty South took inspiration from blues and gospel — genres birthed from hymns and psalms sung in the fields and plantations. The Dirty South brought their ancestors with them. Their rap style and delivery had an inherent country twang, an accent reminiscent of a period lost to time yet modern; its incorporation of rock 'n' roll, jazz, and funk embodied a contemporary Southern spirit. 

If the introduction of West Coast rap struck fear in the East Coast, the South was a laughing stock, until the South started to sell in the early to mid 2000s. Some critics attribute the ascension of Southern hip-hop to the fatigue of the East vs. West Coast rivalry. Others say hip-hop was in need of a new start after the early passings of the Notorious B.I.G. and Tupac Shakur. Whether both claims are true or false, the Dirty South was the future.

Notable Southern Hip-Hop Artists & Labels

Atlanta: The epicenter of the Dirty South. In the early 1980s, Atlanta' hip-hop started to get its foothold with airplay on local radio stations, artists being signed to Miami-based record labels, and early success on the music charts and the GRAMMYs. Rapper Mo-Jo, club DJ King Edward J, and Peter "MC Shy D" Jones were among the first in the city’s hip-hop community. At the time Jones was signed to Luke Records, a Miami based record label started by Luke Campbell of the 2 Live Crew. The hyper localized scene benefited from the contributions of club DJs Kizzy Rock and DJ Smurf, who shifted Atlanta’s sound from a Miami bass derivative into a distinctive sound. 

From the mid 1980s, a number of local record labels emerged: Ichiban Records and Wrap Records. However when Antonio "L.A." Reid and Kenneth "Babyface" Edmonds moved to Atlanta in 1989, the local hip-hop scene changed. In the 1990s, their LaFace Records signed Goodie Mob, Outkast, producers Organized Noize, TLC, Usher, Xscape and others. Meanwhile, Jermaine Dupri founded So So Def record label. Under the direction of Lil Jon, the label’s A&R, the label signed Xscape, Da Brat, Jagged Edge, and more acts aligned with the R&B/hip-hop sound. As the signees of LaFace and So So Def Records triumphed, Def Jam Records hired Scarface of the Geto Boys to lead their Southern division, Def Jam South, which signed Ludacris. 

As a solo artist Lil Jon & The East Side Boyz released "We Still Crunk Up!,""Put Yo Hood Up,""Kings of Crunk," and "Crunk Juice," a series of albums credited with bringing crunk into the mainstream. The popularity of crunk and dance music was heralded by Crime Mob, D4L, Dem Franchise Boyz, Soulja Boy and more who gave Atlanta hip-hop prominence not only in music but Internet culture.

New Orleans: In the aftermath of bounce music’s expansion in the early 1990s, Parkway Pumpkin’ Records was the holding place of New Orleans’ talent. Mystikal, known then as Mystikal Mike, was one of the label’s early signees. Along with Magnolia Slim, an architect of the New Orleans hip-hop sound. At the time, Parkway Pumpkin were free to record with other labels like Big Boy Records. When Master P moved back home from the Bay Area, his No Limit Records existed alongside local independent record labels like Cash Money, Take Fo’, Tombstone and Untouchable. 

In a strategic business move, No Limit Records took Mystikal, Soulja Slim (formerly known as Magnolia Slim), and producer KLC from Parkway Pumpkin. As well as the signing of his family members C-Murder, Silkk the Shocker, Master P signed Mia X, the first lady of No Limit Records to the label. KLC, known as Craig S. Lawson, formed Beats by the Pound, the production behind No Limit Records. One of his first productions, Down South Hustlers, a compilation tape that featured New Orleans' first rap group New York Incorporated, signified No Limit Records attempt to exemplify Dirty South culture. Although No Limit Records secured a major label investment in 1996, Cash Money Records emerged in 1998 as a challenger with their new signees of Juvenile, Big Tymers, Hot Boys, and Lil Wayne with production by Mannie Fresh.

Memphis: At Club No Name, the first club in Memphis to play hip-hop, DJ Spanish Fly originated as one of the first creators to bring Memphis rap into shape. Although the patrons’ preference skewed towards electro, DJ Fly would incorporate his own preferences into mixes at Club No Name, Club Expo, and the Crystal Palace Skating Rink. His mixes maintained an ominous groove that included notes of electro but made room for moody rap. Though DJ Spanish Fly was among the first to evolve Memphis rap, DJ Squeeky defined the city’s sound with the insertion of a SP-1200 and Roland keyboard. 

His influence can be heard in early mixtapes from DJ Paul and Juicy J. DJ Paul and Lord Infamous, his half brother formed the Serial Killaz. When the duo met with Juicy J, the three formed The Backyard Posse. Over time, the group added Koopsta Knicca, Crunchy Black, and Gangsta Boo. The six person group was renamed Three 6 Mafia and released their first album, Mystic Stylez under Prophet Records. Mystic Stylez also featured the female rapper La Chat and Project Pat, the brother of Juicy J. Shortly after their deal, the group parted ways with Prophet and formed their own label Hypnotize Minds. La Chat also released "Murder She Spoke," her debut album on the record label. 

Under the direction of DJ Paul and Juicy J, the rappers under the Hypnotize Minds label achieved commercial and critical success, as well as an Academy Award for It's Hard Out Here for a Pimp" for Hustle & Flow, a drama set in Memphis that follows DJay (played by Terrence Howard), a pimp and drug dealer with aspirations of becoming a rapper.

Miami: Before hip-hop migrated down from New York, Miami already had a DJ style. In Miami, the DJs would be "regulating": or "mic checkin','' where the DJ brought down the record for a short period of time and insert their own lyrics to remix the song in a similar fashion to reggae and dancehall DJs. In the late 1970s and early 1980s, DJs would travel with their generators, turntables, speakers, and equipment to perform in public and private spaces across the city. 

As local DJs put their spin on hip-hop, the city’s rappers energetic sound which came to be known as Miami bass, a diasporic influenced heavy bass sound that contained elements of electro and synthesizers were heard in the music of the Gucci Crew, Clay D, MC A.D.E., and the 2 Live Crew. The 2 Live Crewwas the first to bring the Miami bass sound to the mainstream. The group released their albums under then Skyywalker Records (now Luke Records), member Luther Campbell’s record label. Their success came at a cost. The sexually explicit nature of their lyrics resulted in a federal court obscenity trial, which established the precedent for censorship in music. 

In the mid to late 1990s, Slip-n-Slide Records, a label founded by Ted Lucas, signed Trick Daddy, a Liberty City resident who thematically used the language of gangsta rap to speak about the struggles and challenges of living in a disenfranchised area. However, it was Trina who joined Trick Daddy on "Nann N—a," who put the city, its women, and women across the Dirty South with her as refuted Trick Daddy on his own track. "Da Baddest Bitch," her debut album released on Slip N Slide label put her in conversation with Lil' Kim and Foxy Brown as a contender for the Queen of hip-hop title.  

Subgenres Of Southern Hip-Hop

For the past two decades, the Dirty South has been responsible for hip-hop’s expansion and evolution. The region has conducted a variety of sonic experiments and melodic sounds to produce an expansive lexicon that represents the conflict, tension, and joy about being Black in the South. 

Southern hip-hop does not shy away from the underground, but rather embraces it. The music in itself is a contradiction: A track used for shaking ass at the strip clubs, while patrons eat chicken wings, can originate from a gospel beat. Because to be Black in the South, where your ancestors were once enslaved, is disorienting.

Bounce music: New Orleans has a vast musical history and structure: The chanting of the Mardi Gras Indians, the brass of the second line bands, and the expressiveness of parade culture cultivated a music of lively and celebration. When hip-hop arrived, it incorporated notes of the existing styles into a call-and-response formula over a series of rhythmic beats which invoked attendees into dance. Originating in the city's housing projects, this new style of bounce music took a new life in the city’s nightlife. Folks felt called to participate in the chanting, the hyper-localized lyrics, and high energy drum patterns familiar to second line culture. Although Big Freedia, is known as the Queen of Bounce Music, and rightfully so. The musician got their start working with Katey Red, "the first trans woman bounce artist." 

Buck music: Within Memphis’ skating rinks and club cultures a dance music that ricocheted through the body, was born. Local DJs reinterpreted samples of soul and funk music, keyboard melodies of the Black church, with distinctive time signatures and cadences, on top of electronic-focused bass to give rise to a lexicon of dance styles including  jookin’ and stomping. The heavy bass music stylings of Memphis also gave birth to trap and crunk, two styles most associated with Atlanta.

Crunk music: What would crunk music be without its patron saint Lil Jon? Although the rapper-producer cannot lay claim to the origins of the musical style, in the early 2000s, Lil Jon & the Eastside Boyz brought crunk to popular culture. Known for its party-centered lyrics and uptempo rhythms, crunk music became synonymous with Atlanta’s club and strip culture. The shouting, the energetic call and response, the chanting; crunk became the loud, bold, vocal expression of the city’s youth and music culture.  To be crunk was to be excited. 

Snap music: Snap music, an Atlanta-based form of hip-hop, was ushered in by the rise of handheld technology and social media sites like YouTube in the early 2000s. In lieu of a snare or clap, a snap was inserted as a replacement, often complemented by a whistle. The songs, which shared components of crunk, were exemplified by an accompanying dance and uploaded to social media sites (in much the same way  Gen Z does on TikTok).

Miami bass: Miami, the city of two Souths. One foot in the Southern United States, the other in the geographical South. The demographic, geographic, and cultural mix of Cuban and Haitian, as well as Southern Blackness, produced an eccentric style of hip-hop. Elongated bass built on layered rhythmic production, and short, repetitive phrases ushered in a shout and response style became hallmarks of Miami bass. Played around 125 beats per minute, the style flourished in Miami’s car scene as well as party and adult entertainment culture. 

Trap music: If crunk and snap music were symbols of the jovial Atlanta, then trap emerged as a symbol of the city and Black America’s underground. In a nation where Black communities experienced the onslaught of War on Drugs policies and excessive policing, the only way towards economic freedom was to hustle, and the hymn of the hustle and struggle was trap. Embedded with the dark lyrical content, multilayered kick drums, hi hats and synthesized drums was the moodiness of the duffle bag boy trying to survive. Over time, a holy trinity of the Roland TR-808, snare rolls, and first hand experience gave birth to a style where dope boys could be referred to as kings.  

Definitive Southern Hip-Hop Songs

Three 6 Mafia - "Tear Da Club Up '97" (1997): The conveying of electric bodies in movement can result in one of two ways. The first, a baby. The second, an ass whooping. The club is also a multifaceted place where you can meet the love of your life or the person (or people) who have been "talkin' that s—," as Three 6 Mafia say. This is the environment where "Tear Da Club Up" resides.

The song serves as a call to action. On a good night, the song is a declaration of celebration. On a bad night, an ominous premonition of what’s to come. "Tear Da Club Up" was banned in 17 states, but established the precedent for crunk anthems like "Knuck If You Buck," and the movement of club-esque songs that served a dual purpose for fighting. 

"Tear Da Club Up" remains a reminder of what a night out looks like with Three 6 Mafia.

Gangsta Boo -"Where Dem Dollas At" (1998): In an industry, where the contributions of Black women are used to build the empires of men in hip-hop, Gangsta Boo refused to be silenced. She knew that the voices of young Black women and girls from the South, belonged at that table.

While Juicy J and DJ Paul used Three 6 Mafia to construct their own kingdom in the Third Coast, Gangsta Boo did not sit idly by. Her appearances on Three 6 Mafia's "Mystic Stylez" and "Enquiring Minds" were small glimpses of her power, but her christening was "Where Dem Dollas At." The Queen of Memphis had arrived.

Her presence made the appearance of Juicy J and DJ Paul irrelevant. Her lines became a chant, a psalm, a swift rebuke for every woman who had been taken advantage of by a man and needed a fierce reminder of their power. It made men in Memphis and hip-hop understand exactly what it meant to be a lady from the Third Coast: to endure, to preserve, and to hustle when the odds are against you. To this day if you hear a woman recite "Where Dem Dollas At," know she has conjured the spirit of Gangsta Boo and it would be best to return the money owed by you. 

Trick Daddy feat. Trina - "Nann N—" (1998): Hip-hop has always encouraged the back and forth among emcees — the exchanging of verses, the pointed attention to detail, the eventual crescendo to eviscerate an opponent. There is a reason why battle rap is tethered to its name. Although the spirit of competition has always been omnipresent, the battles were always centered around men. Whenever a woman enters the battle and annihilates an opponent — as  Roxanne Shanté did at the Battle for World Supremacy — the man still emerges as the victor. It was as if femininity was the deciding factor of who could win a battle or not. Until Trina came around.

That is not to say Trina was the first to win a one-on-one battle with a male MC. But, she is the first to utilize femininity in a pointed way to take down an opponent. The first half of "Nann N—" is an elongated list of the ways masculinity has empowered Trick Daddy. In the second half, Trina details the ways her femininity grants her access to things Trick Daddy could not even dream of. The deployment of her sly, viperous lines and sweet, Southern wit took apart Trick Daddy’s line bit by bit. Until she was left as the last person standing. 

The positive reception and response to "Nann N—" placed Trina in conversation with the women rappers of that era, and laid the framework for the next generation of women rappers from the South. 

Juvenile feat. Mannie Fresh & Lil Wayne - "Back That Azz Up" (1999): The opening notes of "Back That Azz Up" are all it takes for people to throw their booties in a series of fashions. Whether circular or up down, the song does not shake about the positionality of where you throw ass, as long as you are shaking it. 

The holy trinity of Mannie Fresh, Juvenile and Lil Wayne not only introduced New Orleans bounce music into the mainstream, but jump started Cash Money Records' takeover of the 2000s. There is no greater party song, revered by people of all generations, genders, races, and creeds than "Back That Azz Up."

Crime Mob feat. Lil Scrappy - "Knuck If You Buck" (2004): For Black youth in the South, there are few outlets to express rage. Crunk music is emo music for Black people, and provides the language to release and move through the torments of being Black in America. For a group of teenagers from outside of Atlanta, Crime Mob were the originators of this type of youth-specific music. 

The group, composed of M.I.G., Cyco Black, Princess, Lil' Jay, Diamond, and Killa C. were the voices of young Black Atlanta.

Recorded in a closet at producer Lil Jay’s house with a knockout track by his little sister, Princess, "Knuck If You Buck" became a rallying cry for Southern teens. With a beat inspired by a brawl at Lil Jay’s house and the stylings of DJ Paul and Juicy J, the song quickly became the group’s biggest hit.

"Yeah, we knuckin and buckin and ready to fight. I betcha I'ma throw them things, so haters best to think twice," became the go-to chant for a country-ass brawl. With the addition of Diamond’s delivery of  "Bitch you irrelevant, step to my residence. Best to back up 'fore I fill you with lead," in the fourth line; the song solidified the pair (Diamond and Princess) as the breakout stars on the collective track. 

Their presence welcomed women to the crunk fight. Where their verbal expressions of anger and violence were warmly received for over 15 years, generations of Black youth have sought solace in this song and whooped ass to it as well. 

Southern Hip-Hop Artists On the Rise

If the Dirty South is the future, the future of Southern hip-hop is female. Jucee Froot, GloRilla, Doechii, Kaliii, KenTheMan, Monaleo, TiaCorine and Baby Tate are among the latest rappers to carry the Dirty South sound and aesthetic. Meanwhile, Saucy Santana and Lil Nas X are changing the South's presentation in terms of gender identity and expression. 

Cultural and societal perceptions of the South have changed greatly, in due part to a new generation of entertainers who champion the South on a continual basis: Houston has found another champion in Megan Thee Stallion; Miami’s new voice is found in the City Girls; in Memphis, GloRilla is carrying on the legion of Gangsta Boo who died in January of this year; and Atlanta has a diverse array of women rappers that prove the city does not have one singular sound. 

By the early 2000s, the classifier "Dirty South" became less of a communal touchstone and  more of a marketing term by record labels in Atlanta. But it was less of a marked loss and more of a massive cultural shift. 

By the mid 2000s, Southern rappers became the dominant voices in hip-hop, and largely took over pop culture. Evidenced by trap music migrating out of Atlanta to pop and genres across the world, the cultural exports of Southern hip-hop can also be found in streetwear and luxury fashion.Within the industry, Dirty South legends like Lil Wayne were honored at the Black Music Collective’s Recording Academy Honors during the 2023 GRAMMY Awards.

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

It took Earth, Wind & Fire six studio albums before they became mainstays on the pop charts. However, the genre-blending funk group's longstanding influence suggests that they've been opening minds and writing inspiring music since their self-titled debut in 1971.

Earth, Wind & Fire's legacy is now cemented with multi-platinum albums and six GRAMMYs, but just as important is the cultural impact they left on the generations of artists that followed them. Founding member Maurice White introduced the kalimba, a Zimbabwean finger-plucking instrument, to mainstream audiences, while their seamless blend of soul, funk, R&B, and jazz — particularly on breakout album That's The Way Of The World — paved the way for future crossover success from Black artists. 

EWF's contemporaries in the 1970s and 1980s were showering them with praise and incorporating elements of the group's sound and style into their own work. Even when it's not explicitly stated, moments like the look of the Jacksons' 1984 album, Victory, and its subsequent tour seemed to draw directly from the sequin-heavy, futuristic and eccentric costumes and large-than-life performances of Earth, Wind & Fire. Miles Davis once called EWF his "all-time favorite band," which Maurice White said there was no greater honor than that in his book My Life With Earth, Wind & Fire. Isaac Hayes, Quincy Jones, Dionne Warwick, and Stevie Wonder have all praised the group's impact on popular music and their work.

Then came the hip-hop generation who discovered Earth, Wind & Fire records in their parent's record collections. According to Whosampled.com, their most popular sample isn't even a famous single, but a minute and twenty-one second interlude from All 'N All called "Brazilian Rhyme (Beijo Interlude)." The rhythmic barbershop vocals and percussion have been sampled in over 100 hip-hop and R&B songs by artists like Big Pun, the Black Eyed Peas, Eazy-E, Mary J. Blige, Madlib, and the Fugees. (The clip has also been a staple for house and disco DJs through edits and remixes by DJs like Danny Krivit, who extended the groove by looping the rhythm section for a more satisfying burn on the dance floor.)

More recently, EWF's iconic hit "September" took on new life in 2016 thanks to actor and TV writer Demi Adejuyigbe's viral videos dedicated to honoring the 21st day in September. For six years, his meme-worthy annual "September" videos garnered millions of views and raised thousands of dollars for charity. And just this year, pop music's newest queen Sabrina Carpenter gave the group their flowers during her headlining set at Lollapalooza in Chicago, bringing out the hometown heroes to perform "September" and "Let's Groove" with her. 

Coincidentally, on this September 21, Earth, Wind and Fire will be the subject of a television special titled "A GRAMMY Salute to Earth, Wind & Fire Live: The 21st Night of September" from 8-10 p.m. (ET/PT) on CBS and Paramount+. Filmed at the Hollywood Bowl with the L.A. Philharmonic, "A GRAMMY Salute to Earth, Wind & Fire Live" will honor the group's cultural impact and timeless sound with hit songs and special guests; Stevie Wonder, the Jonas Brothers, Jon Batiste, and Janelle Monáe are among the artists who will join in the celebration.

Ahead of the special, check out five acts — Monáe included — who have paid respect to the group's everlasting legacy through their own artistry.

Janelle Monáe

In a 2011 interview with Rhapsody.com, Janelle Monáe shared that growing up, the only 8-track albums she and her sister wanted to hear in her father's car were the Earth, Wind & Fire ones. "They left a lasting impression in my mind of what funk music represented," she said.

It's easy to see the Afrofuturist lineage in placing the Egyptian futurism of EWF album covers alongside Monáe's 2010 breakout album, The ArchAndroid. Her sound moved closer to EWF influences on "It's Code" and "Ghetto Woman" from 2013's Electric Lady. However, it's her 2023 LP, The Age of Pleasure, where the free-spirit singer directly tapped into her idols' energy. 

As Monae told Rolling Stone, she was thinking about the Maurice White quote "If it ain't no beauty, make some beauty" while recording The Age of Pleasure. Much like EWF pushed Black consciousness and ancestral spirituality in the 1970s through infectious funk and a triumphant brass section, Monáe's GRAMMY-nominated album opened that same consciousness chakra to a Pan African diaspora and pro-LGBTQIA+ community.

Outkast

In 2003, following the release of Outkast's epic double album Speakerboxxx/The Love Below, André 3000 referenced Earth, Wind & Fire while musing about the mystical nature of certain album artwork: "You looked at album covers and they was like, 'Damn! Look at that picture of Earth Wind & Fire.' It's like, aw, man! That's amazing. They must be magic or something."

If there's one group who came close to the visual aura of EWF, it was undoubtedly Outkast. Whether it was the zodiac mash-up of Aquemini, which paired a bohemian with a lowriding pimp, or the expansive experimentalism of Stankonia that sought to treat rave, gospel, twangy funk, and psychedelia as a unified groove, Outkast honored EWF with their fearless spirit. But, if there's one song that exemplifies their admiration for EWF, it's "The Way You Move" featuring Sleepy Brown. 

With its horn accompaniment and Sleepy's Philip Bailey-esque falsetto chorus, the single off Big Boi's Speakerboxxx rose to ubiquitous, EWF-esque levels of mainstream success. The connection was confirmed when Earth, Wind & Fire shared the stage with Outkast and Sleepy Brown for a performance of the single at the 2004 GRAMMYs, the same night that Outkast made history as the first rap album to ever win Album Of The Year.

Pharrell Williams

In a feature on the soundtrack to his life, Pharrell Williams told The Guardian that he was "raised on Earth, Wind & Fire" — going on to credit "Can't Hide My Love" as the song that "made me a singer."

Knowing that, it's hard not to hear Williams' signature falsetto as his take on Philip Bailey. And while some of his biggest, most EWF-esque singles with Daft Punk were made with another 1970s disco legend in Nile Rodgers, Daft Punk provides a bit of Earth, Wind & Fire in songs like "Get Lucky" and "Lose Yourself To Dance." 

Williams' role as a producer has also incorporated the group's influence. N.E.R.D. productions that feature orchestral flourishes, like "Bobby James" and "Run To The Sun," feel like direct descendents of Charles Stepney-era Earth, Wind & Fire.

Phil Collins

By the 1980s, Phil Collins was exclusively known for the prog-rock stylings of Genesis — in turn, few understood or expected Collins' experimental proclivity would produce an R&B- and jazz-influenced pop album. But, Collins was a big admirer of experimental Black musicians who would still create infectious grooves like Weather Report and Earth, Wind & Fire. 

Rather than imitating his admiration for EWF's horn section, The Phenix Horns, he hired them to accompany him on six songs for his 1981 solo debut, Face Value. While recording in Los Angeles, he'd been developing a pop-friendly crossover sound that pulled more from R&B and world beat that fit squarely in the Phenix Horns' comfort zone. 

Collins' continued to draw from EWF when he returned to Genesis, once again enlisting the Phenix Horns for "No Reply At All" on the album Abacab, which was released just seven months after Face Value. In 1984, he recorded "Easy Lover" with Philip Bailey for the EWF singer's third solo album, Chinese Wall, while EWF drummer Fred White appeared on Collins' 1990 live album, Serious Hits… Live!

A Tribe Called Quest

In a 2013 interview with Red Bull Music Academy, Q-Tip of A Tribe Called Quest shared that when he was recording their debut album, 1990's A People's Instinctive Travels and the Paths of Rhythm, his thought process was to "to make something as close to like the Beatles, or Earth, Wind & Fire, or Sly [Stone] as possible for hip-hop." Which is why it's no surprise that he looped a segment of Maurice White's signature scatting lyrics from "Brazilian Rhyme (Beijo Interlude)" for the Tribe song "Mr. Muhammed."

While the quartet didn't sample EWF much beyond "Mr. Muhammed," their eclectic and adventurous sound that blended disco, funk, soul, and jazz into a groundbreaking new style for hip-hop — mixed with open-minded lyrics — makes A Tribe Called Quest descendents of EWF. In fact, after Maurice White passed away in 2016, Q-Tip revealed that "Tribe was meant to be hip-hop's equivalent" to Earth, Wind & Fire during a tribute episode of his Apple Music radio show, "Abstract Radio." In a Facebook post promoting the episode, Q-Tip wrote the simple dedication to "My hero, the master, the maestro."

Big Freedia has long been known for his eclectic musical style and dedication to his roots. Often referred to as the "Queen of Bounce," Freedia has been instrumental in making New Orleans bounce music and Southern queer culture globally recognized. 

The artist born Freddie Rose has captivated audiences with his signature up-tempo hip-hop and R&B-infused grooves since the late '90s. He first emerged in 1998 as a backup dancer and singer for Katy Red, a popular bounce artist and emcee also from New Orleans. By 2009, Big Freedia began gaining wider notoriety; his first national television appearance aired in 2010, and by 2011, he was named Best Emerging Artist and Best Hip-Hop/Rap Artist in the Best of the Beat Awards. Two years later, he landed "Big Freedia: Queen of Bounce," his own reality series that aired on Fuse, chronicling his growing journey into mainstream.

In the years since, Big Freedaia has dominated the charts with songs like "Rent," "Stupid Boy," and "Karaoke" featuring Lizzo. He's been featured on several chart-topping hits, including Beyoncé's GRAMMY-winning single "Break My Soul" and Drake's "In My Feelings" — the former a rallying cry for resilience, the latter sparking a viral dance challenge.

Now, he’s stepping into new musical territory with Pressing Onward, a gospel album centered on healing, empowerment, and spiritual strength.

Freedia has long relied on his spirituality to ground him through the good times and carry him through the painful ones as well. The album, Freedia's third studio release, is a return to the faith that shaped his early years.

"Pressing Onward is the name of the Baptist church I grew up in. So it just connects back to just my childhood, my upbringing, where I started in music, being a choir director at this church, singing with many choirs around New Orleans," Freedia say, adding that he was his high school's choir director and sang with the Gospel Soul Children of New Orleans and the Gospel Music Workshop of America. "[The album is] taking it back to the roots of where I started, the seed that I planted a long time ago, and it's finally blossoming even more."

After recently losing his partner of two decades to complications from diabetes, the project became a deeply personal journey of grief, the will to continue and renewal. Through powerful lyrics and uplifting melodies, Pressing Onward is both a tribute to enduring love and a testament to the sustaining power of faith.

"I'm using this album as my healing, as bringing joy into my life. And that allows me to share it with the world. It means more than ever to me now that I have to press onward. And so the title hits harder at home right now and resonates really hard," Freedia says.

The 14-track album is a testament to resilience, faith, and the knowledge that there is always a light at the end of the tunnel. Staying true to his authentic sound and creative spirit, Pressing Onward blends Big Freedia's NoLa bounce with gospel-infused rhythms, creating an emotional and spiritual journey. Lead single "Take My Hand," along with "Church," "Holy Shuffle," "Sunday Best," and "Highway to Heaven" offer moments of praise, power and deeply-rooted personal reflection.

With features from heavy hitters Billy Porter (with whom Freedia recently performed at New York City's SummerStage), K. Michelle, and Tamar Braxton, the album doesn’t just uplift — it grabs you and doesn’t let go from the moment you hit play. Their voices, layered with his one-of-a-kind energy, make Pressing Onward a celebration of survival, community and transformation.

Big Freedia the Queen Diva has also made headlines for his business moves outside of the industry. "I'm working on all kinds of stuff, from cannabis to a hotel. The Wobble, that's my new [cannibos-] infused drink that has been running off the shelf here in New Orleans." With an infectious laugh, he continues, "And baby, when I tell you it is giving the girls a nice little buzz and making them wobble to the dance floor."

Enjoying a nice little buzz on the dance floor is one of New Orleans' many charms. But as celebrations lit up the city to ring in the 2025 new year, tragedy took over the Big Easy when a driver plunged onto the sidewalk along Bourbon Street, killing 14 and injuring at least 57 others.

It’s during moments like these — when joy turns to sorrow — that life puts things in perspective. For Big Freedia, it reaffirmed his belief in the power of faith and community and with his newest album, he hopes to do more than sing and entertain. "I want to get people closer to God," he says. "We have to get our house in order. We’re living in some very tough times."

Through Pressing Onward, a safe space has been created — a space for reflection, release, and reconnection. It's Freedia's offering of peace amid the chaos and tension; a spiritual retreat for anyone craving to silence the noise of the world and tend to their inner world, their soul within.

Music has long been a form of resistance for Black artists, serving as a way to express identity, challenge systemic oppression, and instill a sense of cultural pride.And just like the musical pioneers before him who used their voices to shape culture and ignite movements, Big Freedia is carrying that torch, using his platform and his gospel roots to inspire, uplift and push the conversation forward.

According to the Radio Advertising Bureau roughly 20 million Americans tune in weekly to Christian or religious radio stations that feature both music and talk programming. The impact of this genre is far-reaching — especially within Black communities, where it has long served as a catalyst for historic movements, from the civil rights and Black power eras to the more recent calls for justice in the Black Lives Matter movement. In times like these — when the world feels uncertain, and hope is hard to come by —  Big Freedia insists that gospel becomes more than music; it becomes a lifeline.

His lifeline can be found within the lyrics of "All I Need," especially as a kid growing up queer in the South. It's the one track he says his younger self would be most proud of and his reasoning is quite simple: "Because all I need is God. I don't need validation from anyone or anybody."

When asked about his legacy, he says, "There's so much more work to be done, and I just want to leave my legacy to people out there that's like me, that can say, if he did it, I can do it. And that's what it's about for me. It's about passing the torch because I won't be here forever."

With much reflection and sincerity in his voice, he adds, "But also just letting people know that through music, we can reach all kinds of avenues. Music is powerful. It heals the soul, it touches the soul, it brings joy, it brings healing, it brings sadness, depending on what the songs and the message are. And so that's what it's about for me, just bringing joy."

The GRAMMY Museum, the Recording Academy’s cultural and educational home for music lovers, once again has a stacked calendar of public programs in Los Angeles and New York.

Following sold-out events with Jessie Reyez and Damiano David in July, August’s lineup includes conversations and performances with GRAMMY winners, genre-defying newcomers, and influential voices from across the music landscape. Highlights include Cam, Big Freedia, Latin Mafia, Aloe Blacc, and John Oates.

Read on for everything happening at the GRAMMY Museum in August, from intimate discussions to exciting installations.

The Drop: Cam

Aug. 4, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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The GRAMMY Museum will welcome singer/songwriter Cam for an intimate evening with a special live performance in the Clive Davis Theater following an in-depth conversation about the creative process behind her new album, All Things Light.

Written in the wake of early motherhood and deep personal reflection, All Things Light finds Cam exploring themes of identity, loss, and meaning through luminous, soul-baring songwriting. The album showcases her evolution as both an artist and storyteller, reconnecting with longtime collaborator Tyler Johnson and enlisting a powerhouse team that includes Jeff Bhasker, Michael Uzowuru, and Starrah.

From her breakout 3x platinum single "Burning House" to her recent GRAMMY-winning work on Beyoncé’s Cowboy Carter Cam has carved a space for herself as one of country and pop’s most emotionally resonant voices. This special evening offers fans a closer look at her creative world — and a chance to experience her new music live, just weeks after its release.

An Evening With Latin Mafia

Aug. 5, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Mexico City's Latin Mafia are a genre-defying sibling trio who are reshaping Latin music. The group will appear at the GRAMMY Museum to discuss their creative journey, breakout debut album, and growing global impact. Their talk will be followed by a live performance.

With over 7.5 million monthly Spotify listeners, a viral COLORS performance with over 5.4 million views, and a sold-out three-night run at Mexico City’s Palacio de los Deportes, Latin Mafia continues to break boundaries. The group — composed of twins Milton and Emilio de la Rosa and their older brother Mike — earned a Latin GRAMMY nomination for Best New Artist at the 2024 ceremony and recently won Best Latin Fusion Pop Song at Premio Lo Nuestro for their standout track "Siento que merezco más."

Latin Mafia’s distinct blend of Latin pop, trap, R&B, and reggaetón is striking a chord with a new generation of listeners. The trio earned widespread acclaim for their debut album, TODOS LOS DÍAS TODO EL DÍA.

Spotlight: Big Freedia

Aug. 6, 2025 from 7:30 p.m to 9 p.m.

L.A.

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The GRAMMY Museum will host Big Freedia — the larger-than-life ambassador of New Orleans bounce — for an intimate evening in the Clive Davis Theater. The evening will include a special live performance following a conversation about her upcoming gospel album, Pressing Onward, and her boundary-breaking career.

A cultural icon and genre pioneer, Big Freedia has spent more than a decade bringing the sound and spirit of bounce music to global audiences. She built a devoted following through her energetic solo projects — including 3rd Ward Bounce, Louder, Big Diva Energy, and 2023’s Central City — before breaking into the mainstream, first with "Drop," her 2015 EDM collaboration with Diplo and DJ Snake and then Beyoncé,("Formation," "Break My Soul"), Drake, ("Nice for What"), and Lady Gaga ("Judas" on the Born This Way anniversary edition).

Now, with Pressing Onward (out Aug. 8), Freedia turns to gospel-infused celebration and self-love, teaming up with Billy Porter and Tamar Braxton, and is now ready for the GRAMMY spotlight.

Sensory Friendly Saturdays

Aug. 9, 2025 from 10 a.m. to 11 a.m.

L.A.

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Experience Sensory Friendly Saturday on the second Saturday of every month. Families can enjoy our space with less crowding, quieter sound levels, and lower lighting on the second Saturday of every month from 9 a.m. to 11 a.m. Guests can purchase tickets when they arrive at the Museum or online for the applicable Saturday.

Reel to Reel: Hung Up on a Dream: The Zombies Documentary

Aug. 7, 2025 from 7 p.m. to 9 p.m.

L.A.  

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The GRAMMY Museum will host a special screening of Hung Up on a Dream: The Zombies Documentary in the Clive Davis Theater, followed by a conversation with director and producer Robert Coppola Schwartzman. Veteran music journalist Steve Hochman will moderate the post-screening discussion. 

Directed by Schwartzman and executive produced by Tom Hanks and Gary Goetzman, the film traces the remarkable six-decade career of British invasion legends the Zombies — from their formation in the early 1960s and chart-topping hits like "She’s Not There" and "Time of the Season," to their solo projects, legacy, and Rock & Roll Hall of Fame induction in 2019. 

The evening will offer rare behind-the-scenes insights into the making of the film and its subject, with Schwartzman discussing his creative journey from music to film, and how the Zombies’ story became his first-ever documentary project. 

A New York Evening With Old Dominion

Aug. 11, 2025 from 7:30 p.m. to 9 p.m. 

NYC 
 
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Old Dominion will take the stage at National Sawdust in Brooklyn for a special "A New York Evening With…" program that will include an intimate conversation about their creative process, touring life, and latest music. Their discussion will be followed by a live performance. 

Known for their sharp songwriting and tight harmonies, the 2021 GRAMMY nominees for Best Country Duo/Group Performance are among the most consistent and celebrated groups in contemporary country music. They recently earned their eighth consecutive Group of the Year win at the Academy of Country Music Awards and are currently touring in support of their new album Barbara, which blends upbeat anthems with more reflective storytelling. 

Spotlight: Leela James

Aug. 12, 2025 from 7:30 p.m to 9:30 p.m.

L.A. 

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Soul powerhouse Leela James will appear at the Clive Davis Theater for a special live performance and share in a conversation about her latest album, creative process, and career journey. 

Known for her gritty, gospel-infused voice and emotionally charged performances, James has carved out a singular space in modern soul music over the past two decades. Her breakout debut, A Change Is Gonna Come (2005), positioned her as a torchbearer for classic soul in a contemporary landscape, and she’s continued to evolve with acclaimed releases like Fall for You, See Me, and Did It for Love. 

This program will spotlight James' 2024 project Thought U Knew, which finds her blending vintage soul textures with raw, autobiographical lyricism. With standout tracks like "Right Back In It" and "I Was Down," the album further cements her place as one of R&B’s most enduring and expressive voices. 

Spotlight: Naomi Sharon 

Aug. 13, 2025 from 7:30 to 9:00 p.m.

L.A. 

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Rising singer/songwriter Naomi Sharon will make her GRAMMY Museum debut with an intimate evening in the Clive Davis Theater, featuring a live performance following a conversation. 

Born to Dutch and Caribbean parents, Sharon blends soul, R&B, and ambient pop with a globally influenced sound and emotionally rich storytelling. As the first female artist signed to Drake’s OVO Sound, she introduced herself with Obsidian (2023), a moody and immersive project that earned critical praise its atmospheric production and vocal nuance. 

At the Museum, Sharon will reflect on the making of Obsidian, her collaborations with OVO producers like Noah "40" Shebib, and the next chapter of her genre-blurring career. 

Global Spin Live: BOYNEXTDOOR

Aug. 14, 2025 7:30 p.m. to 9:00 p.m.

L.A. 

BOYNEXTDOOR brings their rising global profile to the GRAMMY Museum for a special "Global Spin Live" performance in the Clive Davis Theater. The six-member group will sit down for a conversation about their first world tour, their breakout year in 2023, and their fast chart success. 

The group released their debut single "WHO!" in May 2023, and since then, they've released four EPs, toured the world, and sold over a million records.  Their appearance at the Museum highlights the growing international reach of K-pop. 

Celebrating The Music of "Severance"

Aug. 16, 2025 from 4 p.m. to 5:30 p.m.

L.A.   

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Severance, the critically acclaimed Apple TV original series, has made its mark with immersive storytelling, eerie world-building, and its striking score.  Critics at Vulture, Decider, and the Los Angeles Times  called the score "iconic," "perfect," and "eerily catchy." Emmy Award-winning composer Theodore Shapiro will share about his music and the creative process, and will be joined by director and executive producer Ben Stiller for an afternoon conversation.   

Before Severance, Shapiro worked on The Devil Wears Prada, The Secret Life of Walter Mitty, The Eyes of Tammy Faye, and more. 

An New York Evening With John Oates

Aug. 19, 2025 from 7:30 p.m. to 9 p.m.

NYC

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John Oates takes the stage at National Sawdust for an evening of conversation and performance, reflecting on his evolution as a solo artist and songwriter. Presented as part of the GRAMMY Museum’s "A New York Evening With…" series, the program will explore Oates’ creative process, musical roots, and latest projects. 

While best known for his work in Hall & Oates, Oates has spent the last two decades crafting a solo catalog shaped by folk, blues, and Americana. Recent releases like Reunion and Live from Nashville showcase a more personal side of his songwriting — rooted in storytelling, simplicity, and soul. This special night offers fans a rare opportunity to hear from Oates in an intimate setting as he shares songs and stories from across his wide-ranging career.

Spotlight: Reneé Rapp

Aug. 19, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Reneé Rapp joins the GRAMMY Museum for a program on the Ray Charles Rooftop Terrace to celebrate her upcoming sophomore album BITE ME. The evening will include a conversation with Billboard’s Lyndsey Havens about Rapp’s creative process, career, and new music — followed by a live performance. Guests are also invited to enjoy rooftop views and a cash bar prior to the program.

After earning acclaim for her breakout role in Mean Girls on Broadway, Rapp launched her solo music career with the EP Everything to Everyone and her 2023 debut album Snow Angel. With over 1.4 billion streams and major festival appearances under her belt, she continues to build momentum as one of pop’s most dynamic emerging voices.

The Drop: Laufey - A Special Benefit Program

Aug. 20, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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2023 GRAMMY Award winner for Best Traditional Pop Vocal Album, Laufey returns to the Clive Davis Theater for a special benefit edition of "The Drop." The Icelandic-Chinese singer/songwriter will participate in a conversation about her creative journey, artistic influences, and landmark year before a live performance. The evening will benefit the Museum's ongoing mission to celebrate musical excellence and provide music education.

With a blended style of jazz, classical, and pop, Laufey has become one of the most distinctive voices in contemporary music as she brings the timeless craft to a new generation of listeners.

A New York Evening With Ben Folds

Aug. 21, 2025 from 7:30 p.m. to 9 p.m.

NYC

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Ben Folds comes to National Sawdust in Brooklyn for a special A New York Evening With… program featuring an intimate conversation and live performance. The evening will explore his songwriting approach, creative evolution, and What Matters Most — his first studio album in eight years, released in 2023.

In addition to his solo work, Folds is known for his early career with Ben Folds Five and collaborations across classical, pop, and film. He is also a bestselling author and longtime advocate for arts and music education.

Presented as part of the Museum’s ongoing New York series, this program offers fans a chance to experience Folds’ artistry in a rare, up-close setting.

Spotlight: Addison Rae

Aug. 21, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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New member of the Recording Academy’s Class of 2025, Addison Rae takes center stage for a special Spotlight program at the GRAMMY Museum’s L.A. Live campus. The evening will feature an intimate conversation and a live performance on the Ray Charles Terrace.

Rae’s 2023 debut EP AR introduced a new creative chapter for the digital creator turned pop artist. Anchored by the Charli XCX collaboration "2 die 4," the surprise release drew praise for its early-2000s pop inspiration, sleek production, and Rae’s ability to bridge nostalgia with modern sensibility. The project marked a shift in Rae’s public perception — showcasing her as a developing artist with a clear point of view.

This outdoor program offers a closer look at Rae’s musical influences, songwriting approach, and evolving role in pop culture.

An Evening With Bob Mould

Aug. 25, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Bob Mould joins the GRAMMY Museum’s Clive Davis Theater for conversation and performance, moderated by GRAMMY-nominated comedian, musician, and longtime fan Fred Armisen. The program will explore Mould’s latest album, Here We Go Crazy, his decades of work as a solo artist, and his legacy as a foundational figure in punk and indie music.

Over a 45-year career, Mould has helped shape the sound of underground rock — first as a co-founder of Hüsker Dü, then with Sugar, and later as a solo artist. His influence can be felt across generations, with artists like Nirvana, R.E.M., and the Pixies citing him as a formative inspiration.

In addition to his music, Mould has been an outspoken advocate for LGBTQ+ rights and chronicled his life and career in his 2011 memoir See a Little Light: The Trail of Rage and Melody. Earlier this year, he delivered the keynote address at Macalester College’s commencement — the same school where Hüsker Dü began.

Spotlight: Gigi Perez

Aug. 26, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Breakout singer/songwriter Gigi Perez joins the GRAMMY Museum’s Spotlight series for an evening on the Ray Charles Rooftop Terrace, featuring a candid conversation with Hayley Kiyoko and a special live performance. The program will explore Perez’s acclaimed debut album At the Beach, in Every Life, her creative process, and her rise as one of today’s most talked-about new artists. Guests will also enjoy rooftop views and a cash bar before the show.

Following the release of At the Beach, in Every Life, Perez made her Billboard Hot 100 debut with “Sailor Song” and earned widespread praise for her poetic storytelling and emotional range. She’s toured with Hozier, appeared on stage with artists like Noah Kahan and Mumford & Sons, and is quickly emerging as one of the most exciting voices in pop music today.

An Evening With Riley Green

Aug. 27, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Riley Green comes to the GRAMMY Museum’s Ray Charles Rooftop Terrace for a conversation about his latest album Don’t Mind If I Do, his songwriting process, and career to date, followed by a live performance. Guests are invited to enjoy rooftop views and a cash bar before the program.

A CMA and ACM Award winner, Green has built his name on relatable lyrics, small-town storytelling, and crowd-favorite anthems like “There Was This Girl,” “I Wish Grandpas Never Died,” and “Half of Me” with Thomas Rhett. His third album, Don’t Mind If I Do, released in 2023, includes fan favorites like “Jesus Saves,” “Worst Way,” and the Ella Langley duet “Don’t Mind If I Do.” He’s currently headlining the Damn Country Music tour, with stops in New York, Nashville, Boston, and more.

The Drop: Braxton Cool

Aug. 28, 2025 from 7:30 p.m. to 9 p.m.

L.A.

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Braxton Cook will be at the Clive Davis Theater for a celebration of his new album Not Everyone Can Go, arriving the following day. The program will include a conversation about his creative process, career evolution, and personal growth, followed by a live performance.

A multi-instrumentalist, vocalist, and genre-blurring artist, Cook has worked with artists including Taylor Swift, Jon Batiste, Giveon, and Masego. He’s performed around the world, earned an Emmy Award, and appeared on NPR’s Tiny Desk Concert six times. With Not Everyone Can Go, Cook draws on themes of transformation, love, and self-reflection — blending jazz, R&B, and soul into a sound all his own.

The origins of hip-hop and R&B are deeply rooted in the social, cultural and political contexts of their respective time periods. In the 1940s, the term R&B replaced the “race records” music genre, which encompassed a myriad of music created by African American musicians that included blues, jazz and gospel. The genre’s evolution coincided with the Great Migration of African Americans from the south to northern, western and midwestern U.S. municipalities. 

Hip-hop was born in 1973 and with it, began a cultural and musical revolution. In 2017 for the first time ever, it became the biggest music genre in the U.S. in terms of consumption, surpassing rock music. Still, one cannot deny the influences R&B has had on hip-hop; over the decades, both genres have served as powerful platforms for artists to express their voices.

Five years after the creation of hip-hop, the first Pride flag debuted in San Francisco. Commissioned at the request of Harvey Milk — one of the first openly gay elected U.S. officials — and created by artists Gilbert Baker and Lynn Segerblom (Faerie Argyle Rainbow), the flag waved at that year's Gay and Lesbian Freedom Day Parade in San Francisco. The flag's eight colors each reflected a unique sexual or gender identity representation. 

Music, such as hip-hop and R&B, gives an audible expression to what the Pride rainbow represents with color. It turns silent symbolism into reverberating stories of resistance and resilience. Similar to the flag, hip-hop and R&B span across cultures and identities. The genres are also vehicles for community, liberation, protest and power. 

Read more: How Queer Rappers Are Defining The Next Generation Of Chicago Hip-Hop

There are several artists who identify as members of the LGBTQIA+ community whose work has broken barriers in music and society at large — with some having also collected a bevy of golden gramophones and nominations. And although some of these artists may not necessarily fit neatly into a musical box, the culture's influence on their work cannot be denied.

GRAMMY.com continues to celebrate Pride Month by honoring the following influential LGBTQ+ artists who have made great strides in the hip-hop and R&B communities. 

Queen Latifah

Rap pioneer, actress and GRAMMY winner Queen Latifah has left an indelible mark on hip-hop, especially as she has achieved many firsts. Her extensive discography includes seven albums and seven GRAMMY nominations. Among her many acclaimed works, her biggest hit remains "U.N.I.T.Y.," which earned Latifah her first GRAMMY Award for Best Rap Solo Performance in 1995.

Read more: Ladies First: 10 Essential Albums By Female Rappers

Queen Latifah’s impact extends beyond the stage, as she was the first rapper to perform at the Super Bowl Halftime Show in 1998. In 2006, she became the first hip-hop artist to receive a star on the Hollywood Walk of Fame. Additionally, Queen Latifah, who has been partnered for 12 years and shares a child with her partner, officiated the marriage of 33 same-sex couples at the 2014 GRAMMYs during Mackelmore and Ryan’s Lewis’ performance of their hit song, “Same Love.” 

Learn more: Why Macklemore & Ryan Lewis' "Same Love" Was One Of The 2010s' Most Important LGBTQ+ Anthems — And How It's Still Impactful 10 Years On

Da Brat

Da Brat’s debut in 1994 on Jermaine Dupri’s So So Def label led her to achieve breakout success. Over the course of her career, she has garnered two GRAMMY nominations. She also went on to become the first female solo rapper to have a platinum album, marking a significant moment for female rappers. 

In recent times, Da Brat has starred on her own reality television show "Brat Loves Judy," alongside her wife, Jesseca “Judy” Harris-Dupart. This month, Da Brat headlined a free L.A. Pride Village concert and released her first new single in several years, “Have U 2 Myself” featuring singer Jessica Betts, who is married to actress Niecy Nash-Betts. 

Janelle Monáe

Singer, songwriter, actress and rapper Janelle Monáe’s melodic sounds and embrace of Afrofuturism solidified her status as a musical innovator and earned her 10 GRAMMY nominations over four studio albums. Her GRAMMY-nominated 2023 release The Age of Pleasure included multiple queer-coded tracks that embrace a spectrum of sexuality. In 2023, she became the first nonbinary person to win the Spirit of Soul Award at the Soul Train Awards. 

Read more: Artists Who Define Afrofuturism In Music: Sun Ra, Flying Lotus, Janelle Monae, Shabaka Hutchings & More

Monáe also regularly leverages her platform to address social issues such as protesting police brutality and systemic racism. Notably, she delivered a speech on police brutality during a "Today Show" appearance. She has also performed at various social justice events in a fundraising capacity, including at #JusticeForFlint. In 2024, her performance at L.A’s Outloud Music Festival during West Hollywood Pride included a speech that highlighted her stance on several social justice issues. 

Kehlani

Though a singer and songwriter primarily working R&B, Kehlani's music has strong hip-hop influences; they have collaborated with hip-hop artists including Cardi B and YG. 

The L.A.-based, Oakland-born singer/songwriter, who identifies as nonbinary and uses she/they pronouns, has four studio albums and four mixtapes under their belt. Additionally, they also have received four GRAMMY nods. Kehlani's most recent nomination came at the 2025 GRAMMYs for “After Hours,” which was nominated for Best R&B Song. 

Read more: Crashing Into The Present: How Kehlani Learned To Trust Their Instincts And Exist Loudly

Beyond their artistry, Kehlani is also an activist who advocates for various social and political causes. In particular, their vocal support for Palestine has drawn both admiration and considerable backlash. Kehlani has also spoken widely about their battles with mental health and is an advocate for suicide prevention. 

Frank Ocean

Singer and songwriter Frank Ocean achieved significant recognition in 2013 by winning two GRAMMYs, including Best Urban Contemporary Album for the critically acclaimed debut Channel Orange. An R&B artist whose work includes hip-hop elements from the genre. 

Read more: Frank Ocean Essentials: 10 Songs That Embody The Elusive Icon's R&B Genius

Beyond his solo work, Frank Ocean's talents extend to songwriting, with credits including collaborations with artists such as Justin Bieber and Beyoncé, showcasing his versatility and impact across genres. He also played a pivotal role in the music collective Odd Future, which was founded by Tyler, the Creator. Though Frank Ocean has stayed out of the spotlight in recent times, Channel Orange’s debut release — and his subsequent sexuality reveal during that same year— remains important to the LGBTQ+ community. In 2013, he won the Outstanding Musical Artist award at the GLAAD Media Awards. 

Young M.A

Young M.A, a five-time platinum-selling rapper hailing from Brooklyn, burst onto the hip-hop scene with her debut single, “OOOUUU.” This track quickly captivated audiences and led to many remixes by numerous artists, including Nicki Minaj. In 2020, her distinctive voice and lyrical prowess were featured on Eminem’s track “Unaccommodating” from his album, Music to be Murdered By. 

Young M.A is the first rapper to be featured on the cover of Out magazine. Additionally, she has performed at the L.A.Pride Music Festival and parade. While Young M.A stopped labeling her identity several years ago, she is proud of her identity. "I do what I want. I love who I love. I want who I want.' And I'm not the only one. There's a lot of people in this world who just choose not to identify," she told the magazine. The rapper also advocates for young LGBTQ+ people. 

Saucy Santana

Originally gaining recognition as a makeup artist for the rap duo City Girls, rapper Saucy Santana, who uses he/him pronouns, embarked on his own musical journey in 2019. His presence in the entertainment industry was further solidified through appearances on the reality television series "Love and Hip Hop" and inclusion on XXL's Freshman Class of 2022 list.

Read more: Rapper Saucy Santana On Breaking Barriers, Blue Ivy & Becoming A "Freaking Superstar"

A significant milestone in his burgeoning music career occurred in 2021 with the release of the remix to his hit song "Material Girl," which features pop superstar Madonna. Saucy Santana, who identifies as gay, has performed at several Pride events around the country, and will be co-headlining this year’s Kentuckiana Pride Festival.

Lil Nas X

Lil Nas X achieved a monumental feat in 2020, securing two GRAMMYs with his breakout single, "Old Town Road." The song became a cultural phenomenon for its seamless blend of hip-hop and country in collaboration with Billy Ray Cyrus on the remix. The genre-bending song itself hints at Black cowboy culture and the missing recognition of Black artists from country music. 

"Old Town Road" is not only among one of the longest-running number one songs on the Billboard Hot 100, but also made Lil Nas X one of the few artists to publicly come out as gay while simultaneously holding a top spot in music. 

Watch: Black Sounds Beautiful: How Lil Nas X Turned The Industry On Its Head With "Old Town Road" And Beyond

Aside from his 11 GRAMMY nominations — including Album Of The Year for Montero — Lil Nas X continues to advocate for LGBTQ+ support and representation. In 2021, he was honored by the Trevor Project with the inaugural Suicide Prevention Advocate of the Year award. The following year, in 2022, he won the Outstanding Musical Artist Award at the GLAAD Media Awards.

Learn more: The Incomparable Creative Vision Of Lil Nas X: 'Montero' Collaborators Detail How "We're All Just An Extension Of Him & His Ideas"

Big Freedia

Known as the Queen of Bounce, New Orleanian rapper and singer Big Freedia reps her city and her community with pride. She was one of the first artists to perform in her hometown after the devastating Hurricane Katrina and acts as an ambassador for NoLa throughout the world. 

Although she initially came onto the music scene in the late '90s, she achieved widespread acclaim with her major label debut album Just Be Free, in 2014. She attained further recognition when she was featured on Beyoncé's GRAMMY-winning hit, "Break My Soul." She was also prominently featured on Drake’s GRAMMY-nominated hit, “Nice for What.” 

Read more: 11 Artists Who Advocate For The LGBTQIA+ Community: Lady Gaga, Lil Nas X, Taylor Swift & More

Big Freedia starred in her own reality television series, providing an intimate glimpse into her career and life with her late partner, Devon. In 2023, Big Freedia was honored by PFLAG with the inaugural Breaking Barriers Award at the organization's 50th anniversary gala. Earlier this year, she was honored with a star on the New Orleans Walk of Fame, as one of the inaugural inductees. 

Doechii

Rapper, singer and songwriter Doechii, who identifies as bisexual, made a splash at the 2025 GRAMMYs, performing as part of the Best New Artist showcase and receiving three nominations. She secured the Best Rap Album GRAMMY for her critically lauded work, Alligator Bites Never Heal. This triumph places her within an exclusive group, as she is one of only three women to have ever won this award. 

Learn more: 5 Ways The 2025 GRAMMYs Celebrated The LGBTQIA+ Community: Doechii, Lady Gaga & More

Her discography includes collaborations with artists such as rapper Westside Gunn and fellow labelmate SZA. This June, she headlined the WorldPride DC street festival’s closing concert. On the red carpet at the 2025 GRAMMYs, Doechii told GLAAD's correspondent that she wanted to "see more gay artists. And more alligators" in the industry.

Read more: Doechii's Sonic Evolution: From Rising Alt-Hip Hop Anomaly To Best Rap Album GRAMMY Winner

Kaytranada

Canadian DJ and producer Kaytranada's music combines elements of house, hip-hop, R&B and dance. The GRAMMY-winning artist has also done many collaborations with hip-hop artists, including with rappers Childish Gambino and Freddie Gibbs. The latter was one of the first artists to publicly support Kaytranada’s sexuality. 

In 2016, prior to the release of his debut album 99.9%, Kaytranada came out during an interview. “I was trying to be somebody I was not, and I was frustrated that people didn’t know who I was,” told the Fader. 

In addition to his solo ventures, Kaytranada is also part of the duo Kaytraminé with rapper Aminé. In recent times, Kaytranada brought his musical blends to the stage as one of the headliners of the annual Roots Picnic in Philadelphia.

Mykki Blanco

Nonbinary rapper and poet Mykki Blanco initially burst onto the music scene in 2012 with their mixtape Cosmic Angel: The Illuminati Prince/ss. Prior to rapping, the California native (who uses they/them pronouns) released a book of poetry entitled From The Silence of Duchamp to the Noise of Boys. Musically, Mykki Blanco has since appeared on songs with singer, songwriter and actress Teyana Taylor and Kanye West. 

In 2015, Mykki Blanco became an advocate for HIV positive members of the LGBTQ+ community after revealing their status in a social media post. Since their debut, they have performed at several Pride events around the world and in 2019, presented Madonna with the GLAAD Advocate for Change award, alongside Rosie O’Donnell and Anderson Cooper. 

Jean Grae

Though she has retired from rapping, artist and writer Jean Grae was part of New York's underground hip-hop scene in the mid-'90s. The South African born nonbinary artist released her debut album Attack of the Attacking Things in 2002, and went on to release three albums afterward. 

Over the course of her music career, Jean Grae has also worked with rappers such as Immortal Technique, Talib Kweli and Pharoahe Monch. She has since ventured into acting and has made appearances on television shows such as "2 Broke Girls."

Me’shell Ndegeocello

While her most recent GRAMMY wins have been in the Best Alternative Jazz Category, singer and songwriter Me’shell Ndegeocello's music blends beats of rap, rock, funk and soul. The 13-time nominee has received nods in R&B Categories and has been credited with sparking the '90s neo soul movement that spawned the likes of Erykah Badu and D’Angelo.

Over the years, Me’Shell Ndegeocello has worked with an assortment of artists across various genres and her work has appeared in numerous projects. She is also an activist and has been outspoken about LGBTQ+ rights.