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.

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast was reimagined to raise funds to support those impacted by the wildfires in the greater Los Angeles area. The Recording Academy and MusiCares launched a dedicated campaign to support affected music professionals, and we need your help. Donate now.

The musical bond between Future and Metro Boomin blazed new paths in Atlanta's rap scene, and transformed trap music into one of music's most expansive exports. The duo first connected on the cult "Karate Chop" back in 2013, and have been on an unrelenting hit streak ever since.

Future's auto-tune-soaked melodies and Metro's ominous trap production has formed an inseparable linkage and some of the biggest records of the past decade. From "Honest" to "Jumpman" and 2024's "Type S**t," the pair have blossomed into music's most in-demand hitmakers and influencers. 

Metro, born Leland Wayne, went from aimlessly sending beats as a teenager from his St. Louis home, to becoming one of the industry's most versatile music producers and a GRAMMY-nominated solo artist. Meanwhile Future, born Nayvadius Cash, has evolved into an international draw with a myriad of No. 1 records, multi-platinum albums, and GRAMMY wins under his belt. 

The two stars have continued to ascend in lock-step, with a new medley of booming street hits and club anthems arriving with each collaboration. But 2024 was their most expansive year to date. The duo cranked out We Don't Trust You in March, and the sequel, We Still Don't Trust You, just weeks later. 

Backed by the Kendrick Lamar-assisted hit "Like That," — and the seismic rap feud it ignited— We Don't Trust You debuted atop the Billboard 100, marking Future's second-largest opening week and Metro's biggest ever. Its follow-up, the more melodic-leaning We Still Don't Trust You, also claimed the No. 1 spot. Together, the joint projects earned the duo four nominations at the 2025 GRAMMYs, including Best Rap Album (We Don't Trust You) and Best Rap Song ("Like That"). 

Future and Metro have hit an artistic zenith unmatched by most rap duos, and it doesn't appear their streak is slowing down any time soon. As their legacy continues to grow, look back at the genesis of their artistic union over the years, and the series of hits that have formed in their wake:

2013

Before Metro became a top-end producer, he was a 17-year-old beatmaker with hopes one of his beats would fall into the hands of a mainstream artist. One faithful email to Brick Squad rapper OJ da Juiceman got him an invite to his Atlanta studio. With permission from his late mother Leslie Wayne, Metro made the eight and a half-hour voyage from St. Louis to the trap music capital. She continued to chaperone him almost weekly until Metro moved to Atlanta full-time to attend Morehouse College in 2012. 

The first-year college student split his time in the classroom and in the studio with Juiceman's mentor Gucci Mane. He eventually crossed paths with Future, who ascended from the disbanded Atlanta group Da Connect and became his own musical entity. Future started meeting up with the teenage producer daily, and the "Tony Montana" rapper hopped on one of Metro's zippy trap beats. He laid down drug-sunken lyrics to the thunderous, heavy-synth instrumental that became 2013's "Karate Chop," but Metro wasn't convinced it was a worthy single. 

"I had no clue from all the records we've done, that [that] s**t just sitting in the studio would be the one. But these days, the people and the streets produce the singles and they was fuckin' with it," Metro said in a 2013 interview with XXL.

Despite Metro's initial hesitancy, the remix featuring Lil Wayne became the lead single of Future's 2014 album, Honest, which featured three other songs from Metro, including the title track and "I Won" with Kanye West. The success of "Karate Chop" convinced Metro to drop out of college and capitalize on the rising momentum. And the musical alchemy between the rapper and producer only strengthened over time.

2015

By 2015, Metro and Future were no longer fighting for attention. The spotlight was keenly focused on the two artists, who, along with figures like Young Thug and Rich Homie Quan, were at the forefront of a booming, melody-infused trap sound. The proof of their collective powers was Future's trap masterwork DS2 and What a Time to Be Alive, an entertainingly disjointed mixtape with Canadian-born superstar Drake. 

Following the release of 2014's Honest, Future dropped a trilogy of album-quality mixtapes. The first was Monster, a darker and more brooding project that saw Future return to his previous form. Metro executive produced the mixtape, and was credited for crafting "Radical," "Mad Luv," "Wesley Pressley" and other tracks.

The duo carried the momentum of Monster into Future's DS2, widely considered the rapper's masterstroke of bleak, self-medicated drug tales and fiery trap hits. Metro, alongside fellow Atlanta trap architects Southside, Zaytoven, and Sonny Digital, handled the bulk of the project. Some of the tracks he produced included the strip club anthem "Freak Hoe," the tranquilizing "Rich Sex," and "Where Ya At" with Drake. 

After the recording session for "Where Ya At" wrapped, Drake and Future began working on the collaborative mixtape, What a Time to Be Alive.  Drake flew to Atlanta for six days with the hopes of recording a handful of songs, but Future's relentless work ethic prompted the Toronto native to match his tenacity. 

The 11-song mixtape surprisingly dropped in September 2015, and fans immediately swarmed to Metro-produced tracks like "Digital Dash," "Big Rings," and "Jumpman." The latter became a top 20 Billboard hit, and Metro's Future-assisted producer tag, "If Young Metro don't trust you I'm gon' shoot you," became the industry's most recognizable calling card.

2017

Just when it felt Future's smoldering hit streak was beginning to cool, he released back-to-back albums FUTURE and HNDRXX in February of 2017. The two projects teetered between pop-inspired tunes and heavy-handed street records, and Metro was the unsurprising maestro behind the biggest song from the two records. 

The Metro-produced "Mask Off" peaked at No. 5 on the Billboard Hot 100, making it Future's highest charting single at the time of its release. A remix of the track, which samples Carlton Williams' "Prison Song" from the 1978 Selma musical, featured Kendrick Lamar. 

The massive hit encouraged generations of hip-hop fans to chant the song's drug-filled hook "Percocets (ya), molly, Percocets (Percocets)." And while Future's HNDRXX takes a more R&B and bright-eyed musical approach compared to the dreadful trap sound of his previous works, Metro was credited for the album opener "My Collection" and closer "Sorry."

2022

After five years without a collaboration, the super-duo linked back up for Metro's "Superhero (Heroes & Villains)." Future's gravelly and unpolished delivery contrasted the song's more cinematic and orchestral production. It was the first single off the producer's comic book-themed album, Heroes & Villains, which echoed an evolutionary turn for the producer-turned-solo artist. 

His transition from rugged trap sounds to grander production was first demonstrated on 2018's Not All Heroes Wear Capes, but his second album and expansion into film showcased it at a larger scale. Metro went on to produce Sony's Spider-Man: Across the Spider-Verse soundtrack, which featured A$AP Rocky, NAV, Travis Scott, Don Tolliver, Lil Uzi Vert, 21 Savage, and his other frequent collaborations.  

In the years since their last record, Future was also expanding his musical reach. He cranked out joint projects with Young Thug, Zaytoven, Juice WRLD, and Lil Uzi Vert, and released another collection of projects while taking a few momentary breaks in between. "​That's because I'm happy," Future said of his occasional hiatuses in a 2022 interview with GQ. "I'm genuinely happy with life. And there was a time where I was only happy when I was on the stage, and in the studio. Like it was my escape." After an album-less 2021, he followed up the next year with I Never Liked You, which earned the rapper his eighth chart-topping album and a GRAMMY win for the mega hit "Wait For U" with Drake and Tems. 

Metro wasn't credited on I Never Liked You, but the "Puffin On Zootiez" emcee circled back with his musical companion later that year. The two reunited on other tracks from Metro's Heroes & Villains album, including "Too Many Nights," "I Can't Save You (Interlude)," and ""Lock On Me." And while it may have seemed like Future and Metro disbanded during the five-year stretch, the producer said they never stopped working together.

 "It's crazy, public perception makes it look like we went our separate ways," Metro said in a 2023 interview with Gangsta Grills Radio. "But neither one of us really went nowhere. It's just about the right moment, and I feel like God just brought this moment together."

2024

More than a year before the release of their joint albums, Future hinted at a potential project with his long-time collaborator. In January 2023, the rapper reshared an Instagram post that read, "Future x Metro OTW with the album of the year." But the subtle endorsement failed to highlight how big the joint effort the following year would be. 

In March 2024, Future and Metro confirmed a two-part album release in a 44-second trailer. The duo is seen hopping out of luxury SUVs in the desert, with the late Mobb Deep rapper Prodigy providing the video's contentious narration.  "A lot of f**king garbage ass rappers running around. These n****s ain't supposed to be rapping, man. This game is meant for a select few." 

The first in the series was We Don't Trust You, a 17-song project that combined Metro's cinematic production with Future's street poetics. Kendrick's verse on the single "Like That" sparked a series of diss records between Lamar, Cole, and Drake, with the Comtpon rapper declaring, "Motherf**k the big three, n***a, it's just big me." 

The result was weeks of musical exchanges between the three artists, including a Drake-directed instrumental from Metro called "BBL Drizzy," which the producer encouraged fans to rap over for a chance to win a free beat. The hotly-contested battle, paired with songs like "Type S**t" and The Weeknd-assisted "We Still Don't Trust You," pushed both albums atop the sales and music charts. 

The pair capped off the year with a 27-date North American tour and a handful of nominations at the 2025 GRAMMYs.

2025

While Metro and Boomin went home from the 2025 GRAMMYs empty handed, the duo’s influence remains undeniable. Between the No. 1 records and recognition redefining modern trap music, they have influenced a new generation while staying true to their signature sound. With undeniable chemistry, their legacy is already cemented — but their reign is far from over.

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast was reimagined to raise funds to support those impacted by the wildfires in the greater Los Angeles area. The Recording Academy and MusiCares launched a dedicated campaign to support affected music professionals, and we need your help. Donate now.

The 2025 GRAMMYs celebrated an abundance of new winners and iconic moments for superstars — and according to Luminate, many of them saw big gains in streaming, sales and chart movements.

Following her momentous first Album Of The Year win, Beyoncé also earned the night's biggest boost for an album. COWBOY CARTER, which also won Best Country Album and Best Country Duo/Group Performance for the Miley Cyrus collab "II MOST WANTED," earned 25,000 equivalent album units post-GRAMMYs — a 254 percent gain.

Doechii's Alligator Bites Never Heal also saw a big bump following her historic win for Best Rap Album, which made her the third woman to win in the Category. The album earned 31,000 equivalent album units (combining consumption via streams, downloads, sales, etc.), earning not just a 107 percent gain, but also its best week yet on the Billboard 200 at No. 14.

The night's biggest winner, Kendrick Lamar — whose viral hit "Not Like Us" nabbed the rapper five more golden gramophones, including his first for Record Of The Year and Song Of The Year — saw perhaps the most interesting boost. Despite the song not being featured on his latest album, GNX, the 2024 LP is up 9 percent. Four more of his six albums also saw a gain: Mr. Morale and The Big Steppers is up 13 percent; Good Kid, M.A.A.D City is up 11 percent; and DAMN. and To Pimp a Butterfly are both up 9 percent.

Billie Eilish saw a similar impact to Lamar's gains, as all of her albums saw a streaming boost following her stirring performance of "BIRDS OF A FEATHER" on the telecast. Her 2024 album, HIT ME HARD AND SOFT — which earned Eilish six more nominations this year — gained 47 percent, while 2022's Happier Than Ever gained 17 percent and 2019's WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? gained 10 percent. Even her 2017 EP, don't smile at me, saw a 14 percent boost.

Chappell Roan had one of the biggest album boosts following her Best New Artist win and theatrical performance of "Pink Pony Club." Her debut album, The Rise and Fall of a Midwest Princess, gained 56 percent. ("Pink Pony Club" also reached a new high on the Billboard Hot 100 singles chart, jumping to No. 18 after a 98 percent gain; more on other Hot 100 moves later.)

On the heels of her own two wins, Sabrina Carpenter enjoyed a 20 percent boost for Short N' Sweet as well as an 8 percent gain for its predecessor, 2022's emails i can't send. Short N' Sweet helped Carpenter win Best Pop Vocal Album and Best Pop Solo Performance for its viral smash "Espresso"; the singer earned six nominations in total, including Best New Artist.

In fact, all eight of the Best New Artist nominees saw streaming gains thanks to their appearances on the telecast. Benson Boone, RAYE, Shaboozey, and Teddy Swims — all of whom, along with Doechii, were featured in a medley performance of their individual hits — each earned a boost. RAYE saw the biggest boost with 65 percent; Boone's Fireworks & Rollerblades album is up 44 percent; Shaboozey's Where I've Been, Isn't Where I'm Going is up 13 percent; Swims' I've Tried Everything But Therapy (Part 1) is up 8 percent. Khruangbin, who were spotlighted in a performance just before the Best New Artist medley, also earned a big gain, as their most recent LP, 2024's A La Sala, rose 36 percent. 

Charli xcx topped off a BRAT GRAMMY night — which included her first three wins and a party-fueled performance of album singles "Von dutch" and "Guess" — with the album seeing a 28 percent gain.

Several winning songs and artists also jumped up on the Billboard Hot 100. The chart's Top 10 is almost entirely dominated by GRAMMY winners and performers, helmed by Lady Gaga and Bruno Mars' "Die With a Smile," which returns to the No. 1 spot for a fifth week. Though the pair opted to tribute those affected by the Los Angeles wildfires with a moving rendition of "California Dreamin'" for their joint performance on the telecast, they were awarded Best Pop Duo/Group Performance for "Die With A Smile" (and Lady Gaga delivered a powerful message in support of queer and trans communities in her speech).

Elsewhere on the Hot 100, Lamar's wins helped his latest SZA collab, GNX's "Luther," move back to No. 3 for the first time since its December debut; Eilish's "BIRDS OF A FEATHER" jumped from No. 7 to No. 4; and Shaboozey's "A Bar Song (Tipsy)" held on No. 5 after seeing a 118 percent boost in sales.

The Weeknd saw the biggest bound into the Top 10 thanks to his monumental GRAMMYs surprise. Ending a nearly four-year boycott, the Canadian superstar took the GRAMMYs stage for a performance of "Cry For Me" and "Timeless" (with collaborator Playboi Carti) from his new album, Hurry Up Tomorrow; the latter jumped from No. 18 to No. 7 on the chart.

Boone's "Beautiful Things" also saw a significant increase, moving from No. 15 to No. 9. His backflip-filled performance on the telecast also helped the song see a 29 percent streaming gain and a remarkable 515 percent boost in sales. 

Though Swims' "Lose Control" performance didn't quite have the same effect, he still holds at No. 8. Lamar's GNX single "tv off" closes out the Hot 100's Top 10 by rising from 11-10 on the post-GRAMMYs chart — but he surely will be seeing another big boost on the next tally, thanks to his instantly iconic halftime performance at Super Bowl LIX. 

The Super Bowl halftime show is more than just a performance — it’s a cultural milestone.

Kendrick Lamar is set to headline the highly anticipated Super Bowl LIX halftime show on Sunday, Feb. 9, marking his second musical appearance at the event. The freshly re-minted 22-time GRAMMY-winning artist first took the stage in 2022, headlining alongside Dr. Dre, Snoop Dogg, Eminem and Mary J. Blige. However, this time, Lamar will be joined by labelmate SZA, as the Kansas City Chiefs and Philadelphia Eagles compete for the championship.

Coming fresh off a dominant night at the 2025 GRAMMYs, Lamar's hit record "Not Like Us" secured him awards for Best Rap Performance, Best Rap Song, Best Music Video, Record of the Year, and Song of the Year. This clean sweep further solidified Lamar's status as a powerhouse —  making him the ideal artist to take on the biggest stage in sports. 

Read more: Kendrick Lamar's GRAMMY Timeline: From His First Win And Performances To "Not Like Us"

Ironically, the Super Bowl’s halftime show has evolved far beyond a simple mid-game distraction — it has become a cultural spectacle that often overshadows the game itself. The 12-to-15 minute performance slot is now a coveted platform for artists to deliver career-defining moments, blending jaw-dropping visuals, electrifying choreography, and surprise guests into an unforgettable experience. 

Within the last five years, Jay-Z's Roc Nation has played a major role in revamping the halftime show, serving as the NFL’s live music entertainment strategist and bringing fresh talent that resonates with a younger, global audience.

As we countdown to Lamar's highly anticipated Super Bowl halftime show, let’s take a look back at some of the most memorable performances in Super Bowl history.

Michael Jackson (1993)

Before Michael Jackson took the stage at Super Bowl XXVII, halftime shows were largely casual affairs, often featuring marching bands and smaller acts. But Jackson changed everything. The King of Pop delivered a game-changing performance featuring "Billie Jean," "Black or White," and "Heal The World," complete with his signature moonwalk and explosive stage production. Jackson's show remains the most-watched Super Bowl halftime performance in history, amassing 133.4 million viewers.

U2 (2002)

In the wake of 9/11, U2 turned their halftime performance in New Orleans into a powerful tribute. As the band performed "MLK" and "Where the Streets Have No Name," they honored those who were lost by displaying their names on a massive scrolling backdrop. It was a deeply emotional moment that transcended sports, uniting a grieving nation through music.

Rihanna (2023)

At Super Bowl LVII, Rihanna made her grand return to music after a seven-year hiatus with a solo Super Bowl halftime show that stunned fans — not just for the hits-packed setlist ("Diamonds," "Umbrella," "Rude Boy") but for it's unexpected reveal: she was pregnant. The stunning performance instantly became one of the most talked-about moments in Super Bowl history.

Janet Jackson & Justin Timberlake (2004)

The 2004 Super Bowl halftime show had one of the most infamous moments in TV history. While Janet Jackson and Justin Timberlake were performing "Rock Your Body," an unexpected wardrobe malfunction led to global controversy. Though the moment lasted less than a second, it led to FCC fines, broadcast changes, and endless media scrutiny. Fans now celebrate Janet Jackson Appreciation Day every Super Bowl Sunday in response to how she was unfairly blamed for the incident.

Prince (2007)

Rain during the biggest night in entertainment can be viewed as a bad omen for some, but for Prince, it was a stroke of luck. Performing at Super Bowl XLI, he embraced the moment as it down-poured inside the Dolphin Stadium, closing his show with "Purple Rain" as the skies opened up. The image of Prince shredding his guitar in the pouring rain remains one of the most legendary moments in Super Bowl halftime history.

Kendrick Lamar

Though Lamar will make his debut as the first solo rapper to headline this year, in 2022 he performed with Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige and special guests Anderson .Paak and 50 Cent (whose upside down performance humorously stole the show). Lamar performed his song, “Alright” and did a brief tribute to Dr. Dre, who was the main focus of the show. 

Shakira & Jennifer Lopez (2020)

The 2020 Super Bowl halftime show was a celebration of Latin culture, featuring Shakira and Jennifer Lopez as co-headliners — the first time two Latin women led the event. The duo delivered a high-energy, 14-minute spectacle, bringing out Bad Bunny, J Balvin, and Lopez’s daughter, Emme Muñiz. Beyond the entertainment, the show also made a bold statement on immigration with children singing from inside cages, addressing the mistreatment of Mexican immigrants in America.

Coldplay (2016)

To celebrate the 50th Super Bowl halftime show, Coldplay led the performance, but Beyoncé and Bruno Mars quickly stepped in as guest performers to share the spotlight. Beyoncé’s “Formation” debut — complete with an army of Black Panther-inspired dancers — became the most talked-about moment of the night. The three artists later came together for a nostalgic montage celebrating past halftime shows.

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast has been reimagined to raise funds for MusiCares Fire Relief, a dedicated campaign to support the people affected by the recent wildfires in the Greater Los Angeles Area. Donate now.

Doechii knows how to command the moment. Whether she's captivating TikTok fans with her quirky 2020 confessional "Yucky Blucky Fruitcake" or making history as the third female rapper — and first artist to win Best Rap Album with a mixtape —  at the 2025 GRAMMYs for Alligator Bites Never Heal, she's an undeniable force in Hip Hop and the artist on everyone's watch. 

Born Jaylah Hickmon in Tampa, Florida, the 26-year-old rapper grew up with an affinity for the arts. Encouraged by her mother, Celesia Moore — who stood beside her on Music's Biggest Night during her emotional acceptance speech — Doechii explored dance, gymnastics, and acting. But it was poetry and music that ultimately became her true calling. Raised in a Christian, single-parent household, she shared a deep bond with her mother over an eclectic playlist, ranging from Paramore and  Outkast to Nicki Minaj. She invented her IamDoechii moniker in middle school as an alter ego to escape childhood bullying, but wouldn't release music until high school, paving the way for her groundbreaking ascent. 

In a 2022 interview with Spin Magazine, she recalled, "music was my goal. I told myself I wanted to be bigger than Beyoncè." 

Swamp Princess Rises From the Mud

While enrolled at Howard W. Blake High School, she released one of her first songs "Girls" to SoundCloud, an R&B-leaning track that transitions from a slow burn to a slaughtering beat. 

Before she evolved into a genre-contorting artist, Doechii began connecting to fans, like most Gen Z artists, on the internet in the mid to late 2010s. It was around this time, the self-proclaimed Swamp Princess released "Coven Music Session, Vol. 1" and similar to her short Youtube quips, she bares her versatility on songs like "Pencil Pouch," "Spookie Coochie" and "Body Offer." The project oscillates between R&B, Miami bass, Boom bap, and Alternative Hip Hop, each track unveiling a different spell-binding flow.

A year later, she finally broke to mainstream acclaim with 2020's Oh the Places You'll Go, which housed her viral hit "Yucky Blucky Fruitcake," which went on to amass over 33 million streams on Spotify. The 7-track EP opens with a poem, harkening back to her spoken word roots, before entrancing listeners with a spiraling soundscape reminiscent of the animated styles of Nicki Minaj and Doja Cat. In hindsight, the cathartic album served as a manifestation of her future and the release of her fears.  

"Just before I made "Yucky Blucky Fruitcake, I was in a place where I was really afraid," she expressed in a 2021 Rolling Stone interview. "I just felt creatively blocked, like, I just wasn't able to produce great work." 

Inspired by Barbara Park's adolescent Junie B. Jones book series, "Yucky Blucky Fruitcake" is Doechii's own coming-of-age tales. She boasts: "I am a Black girl who beat the statistics / f**k the opinions and all the logistics." 

The momentum from that track sparked the almost immediate release of her 2021 follow-up BRA-LESS. The 5-track EP is brazen, bold, and unabashedly Doechii. She ties Hip Hop, pop, and R&B into a perfect bow throughout the project. She warns of her impending take over on the title track, "BRA-LESS," rapping "I'm not bigger or badder, I just won't stop ‘till it's ova / I don't do it for closure / or moments to say I told ya." 

Her lyrics proved more than boastful banter when she signed a joint deal with TDE and Capitol Records in 2022, making her the first female rapper on TDE's iconic roster. 

The Birth of Doechii's Commercial Success

That same year, Doechii released her first commercially successful track under the TDE banner, "Persuasive." From the tracklist of her second EP she / her / black bitch, the house-tinged club track levitates under fluttering melodies. Inspired by queer Ballroom music and disco, the song became inescapable on TikTok and TDE enlisted Doechii's labelmate SZA as a surprise feature for the equally enticing remix. "Persuasive" peaked at No. 33 on Billboard's Mainstream R&B/Hip-Hop Airplay chart.  

She pushed the envelope further with the release of her second single "Crazy." She showcases rage and range with a frenetic, spitfire flow. Paired with a controversial music video complete with naked bodies, gun shots, and an albino alligator (a symbolism of her Gulf Coast roots), the song launched her into national conversations. She later explained in an Instagram video there was no intended storyline, but a reclamation of the term often used to discriminate against Black women. 

"Crazy is about uncontained power, creativity, and confidence," she shared with Vevo. "People call you crazy when they fear you or they don't understand you. I'm reflecting that energy back on them to show them themselves." 

From 2022 to 2023, she released a string of collabs, including "Swamp Bitches" with alt-punk, hardrore rapper Rico Nasty, and Smino's "Pro Freak" featuring Fatman Scoop, before dropping "What It Is," a R&B meets pop earworm. She teamed up with Pompano Beach, Florida rapper Kodak Black for the remix, "What It Is (Block boy). 

Sampling Trillville's southern classic "Some Cut," Doechii pays homage to southern rap on the chorus, singing "What is is, ho? What's up? / Every good girl needs a little hug / every block boy needs a little love." 

In a published love letter penned to the LGBTQ+ community, Doechii wrote about her experience growing up bisexual in a southern community and how her Florida upbringing and the local LGBTQ+ community inspired her sound and campy aesthetics. 

"My creative work is heavily influenced by my Florida roots and the vibrant LGBTQ+ community," she penned in the Billboard article. "Whether I'm working on choreography or undergoing a glamorous transformation, I draw inspiration from my memories of resilience and artistry of drag queens in Ybor City and the energy of ballroom culture in NYC."

Doechii Bites Her Way To Rap Royalty

The culmination of her creative risks and inspiration was about to spill over into her most successful project to date: Alligator Bites Never Heal.

Leading up to the release of her mixtape, she teased new music with the weekly series, Swamp Sessions. Throughout the series, she employs visual and lyrical emblems of Tampa's cultural terrain. Each track is sticky with angst and atonement. 

She kicked the sessions off with "BULLFROG," a campy threat to the naysayers and is full-fledged Florida on "FLORIDA WATA." The kaleidoscopic freebie encourages people to choose authenticity in the midst of societal pressures: "Yeen gotta suppress the pain, just to say you up on game / Yeen gotta dig your grave, just to say that you with the gang." 

In the video for "NISSAN ALTIMA" — inspired by Kendrick Lamar's "Alight" music video — the Swamp Princess asserts her dominance alongside her TDE labelmates Jay Rock, Ab-Soul, and Isaiah Rashad. Meanwhile, "BOOM BAP" decimates her critics with a sharp-tongued flow: "Say it's real and it's rap / And it boom and it bap / And it bounce and it clap / And it's house and it's trap / It's everything, I'm everything," she declares before breaking into "tongues," a divine language meant to confuse demonic entities. 

She underscores her spirituality on the visceral "SUNDAY'S BEST," a foreshadow into the searing therapeutic reflections on Alligator Bites Never Heal.

Across the sprawling mixtape, her sonic evolution and personal growth culminates into a brilliant collection. She sets the tone with "STANKA POOH," a frenetic track engulfed in moody organs that's named after a colloquialism for a favorite grandchild. Tracks like "BOILED PEANUTS," "CATFISH," and "DEATH ROLL" take listeners on a sonic journey through the humid, sometimes haunting universe she unfurls on the project. 

On "DENIAL IS A RIVER," she details her post-breakup depression and struggles with substance abuse in the narrative style of Hip Hop legends like Slick Rick peppered with breathing exercises reminiscent of Doug E. Fresh. An amalgamation of her southern roots and rap predecessors, she ties the past into the present, rapping: "What can I say?, the shit works, it feels good / And my self-worth's at an all time low / And just when it couldn't get worse / My ex crashed my place and destroyed all I owned." The breakout single eventually notched her first solo slot on the Billboard Hot 100 chart. 

She captures the energy of late-night Florida rendezvous on "SLIDE," and on "WAIT," she prophesies her future over a dreamy soundscape. "And I'm not talkin' a family, but I's been dreamin' of fishes / Since I been watching the GRAMMYs / And I'm here to stay like the s*** in your panties / I need some standing ovations since y'all can't seem to understand me."

While promoting the release of her GRAMMY-winning project, she wrote in an Instagram post, "This mixtape embodies my resurgence, my reclaiming of power. It's a testament to my unyielding spirit and limitless creativity. In my research about alligator attacks, I found that a common thread in each survivor was that the main reason they survived is BECAUSE they fought back. This mixtape is my fight back. I am nobody's prey; I was born to be the predator."

Rooted in her eclectic Florida upbringing and Hip Hop lineage, Alligator Bites Never Heal is an undeniable testament to Doechii's limitless creative expression. 

In a backstage interview with the Recording Academy, she reflected on her ascension from a local underground starlet to a global rap phenom, sharing, "I really started this from the bottom. We started on Youtube. I'm from Tampa, Florida. I started writing music on my bedroom floor and it kinda grew from there." 

Watch: Doechii Opens Up About What It Means To Join Cardi B & Lauryn Hill As The Only Women To Win Best Rap Album | 2025 GRAMMYs Backstage Interview

From the Swamp to GRAMMY's Spotlight

As the second category presented during the telecast, the 2025 GRAMMYs kicked off with Doechii breaking barriers with her win for one of the night's top honors. Presented by Cardi B, the second woman to win Best Rap Album at the 2019 GRAMMYs, Doechii accepted the symbolic mantle, sharing through tears "there's so many people out there who probably don't know who I am. I call myself the Swamp Princess because I'm from Tampa, Florida! There's so much culture in Tampa. Whenever people think about Florida, they only think about Miami, but Tampa has so much talent. Labels, go to Tampa, there's talent there!"

She closed out her speech with a powerful encouragement to eclectic Black girls who may not fit into societal boxes: "I know that there is some Black girl out there, so many Black women out there who are watching me right now and I want to tell you you can do it. Anything is possible… Don't allow anybody to project any stereotypes on you that tell you you can't be here or you're too dark… or you're too loud… you're exactly who you need to be…and I am a testimony."

After making history as the third woman ever to win for Best Rap Album since its inception in 1989, she lit up the GRAMMY's stage with a tantalizing montage of "CATFISH" and "DENIAL IS A RIVER." Accompanied by her longtime collaborator, DJ Miss Milan, she appeared in coordinated Thom Browne uniforms and beaded braids with her dancers (a stylistic theme throughout her Alligator Bites Never Heals tour) before stripping down into a matching bra and jock-strap set for a jazzy rendition of "DENIAL IS A RIVER." The synchronous performance was praised as the best performance of the night. 

She celebrated the evening and her win with a surprise drop of the celebratory "Nosebleeds." A genre-breaking artist tied to her swampy Everglades roots, her sonic journey is as vast as it is encompassing. Similar to her melting pot roots, she'll never be defined by labels or genres. Her groundbreaking win marks the start of one of the most exciting ascensions in Hip Hop. 

Rooted in the swampy depths of the Everglades, her sound is as expansive as her influences — blurring the lines between genres with effortless originality. Just like her melting-pot background, she refuses to be confined by labels. With this historic win, she solidifies her place as one of the most exciting forces shaping the future of Hip Hop.