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ATL UNTRAPPED: The Queendom announces ‘Vice’

Intense new music brings the duo face to face with their demons

ATLTrans Version1 Res Web
Photo credit: Joshua Robinson
NEIGHBORHOODS COLLIDE: Ellenwood and College Park converge in this striking Hip-Hop/R&B outfit.

To ask someone which part of Atlanta they are from is to welcome answers of various complexities. At times it can be simple — a concise “Pittsburgh,” for example — yet other times much more complicated. Outside of debates on what is truly considered Atlanta, the sheer number of stories and cultures native to the city’s neighborhoods are enough to transform a two- to three-word answer into a short essay response.

The latter is exactly what happens as Rocket Rhonnie and AUDIADASOUND (pictured left to right) explain their roots across the city. Rhonnie pops off a quick Southside/College Park combo, and Audia claims the Eastside — and more precisely, Ellenwood — by reciting the hook to Crime Mob’s “Ellenwood Area”: “Ellenwood Area / fuck wit us, we bury ya!” The conversation quickly expands from neighborhood talk to their latest musical campaign and the painful baggage that links their surroundings to their art.

Together, Rhonnie and Audia are The Queendom, a female hip-hop and R&B duo whose music hits harder than blunt force trauma. Their debut project, Queenshit Era, arrived in 2018 and earned them opportunities to perform at A3C, SXSW (South by Southwest), and other local indie festivals. From its album cover to the music video for its standout cut “Duty,” Queenshit employed powerful elements of ancient Greek imagery, making for minimal but striking visual components that complimented the straightforward nature of the record.

Now, two years later, the Queenshit era is over, and the group is entering a more colorful one as they ready their upcoming album: Vice. Neon imagery dictates the steamy music video for its lead single “Plekeke” (pronounced pleh-ke-keh), and the Kill Bill-inspired outfits that Rhonnie and Audia are both sporting hint at the album’s retro and cinematic art direction.

Their enthusiasm has seeped from the visuals into their recording sessions as well, and, quite frankly, The Queendom is having a lot of fun this time around. The previously mentioned single “Plekeke,” for instance, was derived from meme obsession during a smoke session. On a night when the artists were exceptionally high, Rhonnie started freestyling over one of Audia’s beats, referencing Skinbone’s viral remix to Vanessa Carlton’s “A Thousand Miles.”

“Pla-ket-ket-ket-ket! And I’ll shoot you,” Rhonnie sings. “Pla-ket-ket-ket-ket! And I’ll kill you!”

“It started off as a parody,” Audia says. “Then it got really sexy.”

Thus, the sexually charged earworm was born, and its release signaled a vibrant new direction, both visually and sonically, for the duo. However, they warn that despite its bright appearance, Vice isn’t just shits and giggles. Rhonnie and Audia admit that intensity, no matter the emotion, has been the bedrock of the album, allowing them to build a collection of songs that reflect all aspects of their experience — from joy to anguish. 

For Audia, who primarily oversees The Queendom’s production, creating new music has been therapeutic. The confidence she expressed earlier when repping the Eastside falters as she reveals that her mother passed away shortly after her family relocated there, which unfortunately served as the catalyst for her interest in making beats. Nearly 13 years later, Audia continues to find solace in exorcizing her demons on wax. 

“After she passed, producing was literally what kept me going,” Audia says. “I’m a very passionate person, so whether I’m sad, excited, or mad, you’ll hear that on this next project.”

Rhonnie, on the other hand, typically strays from detail-specific introspection in her rhymes. Her extensive experience as an audio engineer and a songwriter has made the process more of a technical than a healing experience, but working with Audia on Vice has encouraged her to open up more. Rhonnie divulges that topics she never thought to take a crack at — such as depression, family struggles, and growing up in College Park — will finally be heard on the upcoming record.

“I was so disconnected from what happened in my childhood that it’s kind of hard for me to touch on these emotions,” Rhonnie says. “Making this album essentially forced me to go to therapy.”

Vice is set to be The Queendom’s most vivid and emotionally intense effort to date. Although no release date has been decided for the record, the duo teases that its next single, “I’mma Go Get It,” will be arriving soon. Additional sonic and visual surprises await listeners in the coming months, and Rhonnie and Audia promise that their new direction will still slap with the hard-hitting energy that they have become known for.

Just like they rapped on “Duty” from their 2018 debut, they have an obligation to “shit on these hos,” even when infusing topics like mental health, bad habits, and childhood trauma into their music. Heavy are the heads that wear the crowns, but such are the duties of queens.



More By This Writer

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  string(6614) "By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and Billboard-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—"
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  string(6658) "By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and ''Billboard''-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

__Quanna__

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project ''Miss Thang'' and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

__ProtéJay__ 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, ''Your World'', on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

__Zaia__

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar ''RESET'' EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to ''RESET'', the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

__Rashford__

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

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News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—    Demetri Stefan Burke TRYNA GET AWAY: Atlanta Hip Hop is distancing itself from the horrors of the ongoing pandemic (Clockwise, from top: Rashford, ProtéJay, Quanna, and Zaia).  0,0,10    ATLU                             ATL UNTRAPPED: Socially distanced, musically connected "
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  string(5202) "TICK. TICK. TICK. TICK. TICK. TICK. TICK. TICK.

For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

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Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record ''M T'' last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out ''M T'', I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to ''Pulp Fiction'' and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

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Monday April 6, 2020 01:37 pm EDT
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  string(15213) "!!THURSDAY, MARCH 5

TRIGGER HIPPY, Aisle 5. Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. — Hal Horowitz

::::

!!FRIDAY, MARCH 6
KRISTEN ENGLENZ, Eddie’s Attic. This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ingénue'' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. — HH
WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta. Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political My American Dream EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. — HH
TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, Heater, with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. — Narah Landress 

!!SATURDAY MARCH 7
STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center. How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. — HH 

SUNDAY MARCH 8 
KATIE TOUPIN, Eddie’s Attic. Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. — HH

WEDNESDAY MARCH 11 
THEM DIRTY ROSES, Eddie’s Attic. This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. — HH

!!THURSDAY, MARCH 12
MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of The Pilgrim, his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. — James Kelly

!!FRIDAY, MARCH 13
ERYKAH BADU, COMMON — State Farm Arena Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. — Joshua Robinson
KEVN KINNEY, Hunt House — Marietta. The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. — HH

!!SATURDAY MARCH 14
MARC BROUSSARD, Variety Playhouse. Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” — HH

!!MONDAY MARCH 16 
Walter Trout, Terminal West. The title of electrifying blues rocker Trout’s latest is Survivor Blues, and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. — HH

!!WEDNESDAY MARCH 18
John Moreland/Justin Peter Kinkel-Schuster, Terminal West. Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. — HH

!!THURSDAY, MARCH 19
CRIS JACOBS BAND, Eddie’s Attic. His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent Color Where You Are album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. — HH
WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) — JK

!!FRIDAY, MARCH 20
RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, Familiar, delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. — NL 
POST ANIMAL, TWEN — Masquerade (Purgatory) Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, The Garden Series, in 2016. Their newest album, Forward Motion Godyssey (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. — NL 

!!SATURDAY MARCH 21
MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m. She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. — HH
NATHANIEL RATELIFF, Tabernacle. Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic And It’s Still Alright release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. — HH

!!SATURDAY MARCH 21 and SUNDAY MARCH 22
CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop. See feature in Blues & Beyond. — HH

!!MONDAY MARCH 23
LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL. Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. — HH
 
::::
 
!!WEDNESDAY, MARCH 25
CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529 Less than two weeks after dropping her Harvest Time EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. — JR

!!THURSDAY MARCH 26
BOTTLEROCKETS, Eddie’s Attic. After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. — HH

!!FRIDAY, MARCH 27
THE QUEENDOM — Mammal Gallery Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. — JR

!!SATURDAY, MARCH 28
DABABY, LIL BABY, WALE — State Farm Arena V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. — JR
KERMIT RUFFINS, City Winery. Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. — HH

!!TUESDAY, MARCH 31
RODNEY CROWELL — City Winery The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, Texas) to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. — JK

!!WEDNESDAY APRIL 1
KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage. This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. — HH

!!FRIDAY APRIL 3
The Music of Cream plays Disraeli Gears, Center Stage. The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic Disraeli Gears, arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour. — HH ''"
  ["tracker_field_contentWikiPage_raw"]=>
  string(15744) "!!__THURSDAY, MARCH 5__

__TRIGGER HIPPY, Aisle 5.__ Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. __— Hal Horowitz__

::{img fileId="29698" desc="desc" styledesc="text-align: left;" max="900px"}::

!!__FRIDAY, MARCH 6__
__KRISTEN ENGLENZ, Eddie’s Attic.__ This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ''ingénue'''' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. __— HH__
__WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta.__ Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political ''My American Dream'' EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. __— HH__
__TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery__ Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, ''Heater'', with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. __— Narah Landress__ 

!!__SATURDAY MARCH 7__
__STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center.__ How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. __— HH__ 

__SUNDAY MARCH 8 __
__KATIE TOUPIN, Eddie’s Attic.__ Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. __— HH__

__WEDNESDAY MARCH 11 __
__THEM DIRTY ROSES, Eddie’s Attic.__ This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. __— HH__

!!__THURSDAY, MARCH 12__
__MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse__ If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of ''The Pilgrim'', his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. __— James Kelly__

!!__FRIDAY, MARCH 13__
__ERYKAH BADU, COMMON — State Farm Arena__ Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. __— Joshua Robinson__
__KEVN KINNEY, Hunt House — Marietta.__ The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. __— HH__

!!__SATURDAY MARCH 14__
__MARC BROUSSARD, Variety Playhouse.__ Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” __— HH__

!!__MONDAY MARCH 16 __
__Walter Trout, Terminal West.__ The title of electrifying blues rocker Trout’s latest is ''Survivor Blues'', and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. __— HH__

!!__WEDNESDAY MARCH 18__
__John Moreland/Justin Peter Kinkel-Schuster, Terminal West.__ Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. __— HH__

!!__THURSDAY, MARCH 19__
__CRIS JACOBS BAND, Eddie’s Attic.__ His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent ''Color Where You Are'' album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. __— HH__
__WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar__ The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) __— JK__

!!__FRIDAY, MARCH 20__
__RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar__ Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, ''Familiar'', delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. __— NL__ 
__POST ANIMAL, TWEN — Masquerade (Purgatory)__ Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, ''The Garden Series'', in 2016. Their newest album, ''Forward Motion Godyssey'' (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. __— NL __

!!__SATURDAY MARCH 21__
__MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m.__ She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. __— HH__
__NATHANIEL RATELIFF, Tabernacle.__ Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic ''And It’s Still Alright'' release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. __— HH__

!!__SATURDAY MARCH 21 and SUNDAY MARCH 22__
__CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop.__ See feature in Blues & Beyond. __— HH__

!!__MONDAY MARCH 23__
__LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL.__ Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. __— HH__
 
::{img fileId="29693" desc="desc" styledesc="text-align: left;" max="900px"}::
 
!!__WEDNESDAY, MARCH 25__
__CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529__ Less than two weeks after dropping her ''Harvest Time'' EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. __— JR__

!!__THURSDAY MARCH 26__
__BOTTLEROCKETS, Eddie’s Attic.__ After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. __— HH__

!!__FRIDAY, MARCH 27__
__THE QUEENDOM — Mammal Gallery__ Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. __— JR__

!!__SATURDAY, MARCH 28__
__DABABY, LIL BABY, WALE — State Farm Arena__ V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. __— JR__
__KERMIT RUFFINS, City Winery.__ Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. __— HH__

!!__TUESDAY, MARCH 31__
__RODNEY CROWELL — City Winery__ The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, ''Texas'') to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. __— JK__

!!__WEDNESDAY APRIL 1__
__KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage.__ This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. __— HH__

!!__FRIDAY APRIL 3__
__The Music of Cream plays ____''Disraeli Gears''____, Center Stage.__ The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic ''Disraeli Gears'', arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. [[No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour.] __— HH__ ''"
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  string(16258) " MM Pic Poguetry 1 Pc Zach Smith Web  2020-03-03T19:34:13+00:00 MM_pic_Poguetry_1_pc_Zach_Smith_web.jpg    musicmenu  29696  2020-03-03T19:25:16+00:00 Music Menu - March 2020 jim.harris@creativeloafing.com Jim Harris Hal Horowitz, James Kelly, Narah Landress, and Joshua Robinson  2020-03-03T19:25:16+00:00  !!THURSDAY, MARCH 5

TRIGGER HIPPY, Aisle 5. Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. — Hal Horowitz

::::

!!FRIDAY, MARCH 6
KRISTEN ENGLENZ, Eddie’s Attic. This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ingénue'' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. — HH
WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta. Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political My American Dream EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. — HH
TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, Heater, with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. — Narah Landress 

!!SATURDAY MARCH 7
STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center. How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. — HH 

SUNDAY MARCH 8 
KATIE TOUPIN, Eddie’s Attic. Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. — HH

WEDNESDAY MARCH 11 
THEM DIRTY ROSES, Eddie’s Attic. This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. — HH

!!THURSDAY, MARCH 12
MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of The Pilgrim, his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. — James Kelly

!!FRIDAY, MARCH 13
ERYKAH BADU, COMMON — State Farm Arena Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. — Joshua Robinson
KEVN KINNEY, Hunt House — Marietta. The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. — HH

!!SATURDAY MARCH 14
MARC BROUSSARD, Variety Playhouse. Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” — HH

!!MONDAY MARCH 16 
Walter Trout, Terminal West. The title of electrifying blues rocker Trout’s latest is Survivor Blues, and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. — HH

!!WEDNESDAY MARCH 18
John Moreland/Justin Peter Kinkel-Schuster, Terminal West. Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. — HH

!!THURSDAY, MARCH 19
CRIS JACOBS BAND, Eddie’s Attic. His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent Color Where You Are album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. — HH
WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) — JK

!!FRIDAY, MARCH 20
RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, Familiar, delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. — NL 
POST ANIMAL, TWEN — Masquerade (Purgatory) Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, The Garden Series, in 2016. Their newest album, Forward Motion Godyssey (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. — NL 

!!SATURDAY MARCH 21
MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m. She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. — HH
NATHANIEL RATELIFF, Tabernacle. Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic And It’s Still Alright release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. — HH

!!SATURDAY MARCH 21 and SUNDAY MARCH 22
CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop. See feature in Blues & Beyond. — HH

!!MONDAY MARCH 23
LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL. Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. — HH
 
::::
 
!!WEDNESDAY, MARCH 25
CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529 Less than two weeks after dropping her Harvest Time EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. — JR

!!THURSDAY MARCH 26
BOTTLEROCKETS, Eddie’s Attic. After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. — HH

!!FRIDAY, MARCH 27
THE QUEENDOM — Mammal Gallery Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. — JR

!!SATURDAY, MARCH 28
DABABY, LIL BABY, WALE — State Farm Arena V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. — JR
KERMIT RUFFINS, City Winery. Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. — HH

!!TUESDAY, MARCH 31
RODNEY CROWELL — City Winery The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, Texas) to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. — JK

!!WEDNESDAY APRIL 1
KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage. This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. — HH

!!FRIDAY APRIL 3
The Music of Cream plays Disraeli Gears, Center Stage. The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic Disraeli Gears, arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour. — HH ''    Zack Smith CAJUN PUNK, F*CK YOU: Louisiana’s Lost Bayou Ramblers have proven themselves as rough ’n' ready. Just ask Bob Dylan, Tom Waits or the late Joe Strummer, who fronted the band for a while. Since 2015, Spider Stacey — yes, of THE POGUES — has fallen under their spell. Now, with the addition of original Pogues bass player Cait O’Riordan joining the fold, they perform as Poguetry, aptly taken from John Wirt’s review of them, ““When Spider Stacy and Cáit O’Riordan from the Pogues meet the Lost Bayou Ramblers they make Poguetry.” Enough said. The City Winery is the place, Thursday, March 12, the date. Don’t you dare miss it!  0,0,15    musicmenu                             Music Menu - March 2020 "
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Article

Tuesday March 3, 2020 02:25 pm EST

THURSDAY, MARCH 5


TRIGGER HIPPY, Aisle 5. Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and...

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  string(5128) "Kai Silvera-Robinson, 23, and Nick Selders, 22, are two rap nerds from Cobb County who spent high school debating the merits of new music. Years later, remembering how they used to scour hip hop blogs for new releases still ignites sparks in their eyes. The way they refer to the early genius of Top Dawg Entertainment, or their first time hearing Mick Jenkins’ breakout mixtape The Water(s), is like hearing someone reminisce about getting their first car.

Their love of music has always been undeniable, but ambition is what launched their passion into a career. After witnessing the rise of great behind-the-scenes figures such as Oliver El-Khatib and Noah “40” Shebib, their fandom evolved into inspiration, and eventually, Robinson and Selders shifted their sights away from music consumption to its production.

“We were just two music nerds in high school that were like, ‘Yo, we can do this shit better,’” says Silvera-Robinson (no relation to the author). “That was really it — two niggas saying, ‘Why can’t we do that shit?’”

Wealthy in Ambition was formed by two young Black men dedicated to bringing something different to the music industry. Today, the management company works with four intriguing local talents: Zaia, an Arista/Sony artist who just finished touring with Skizzy Mars; Atlanta Xay, a producer and songwriter with collaborative ties across the city; Tonye Ayeba, a soulful multihyphenate with musical roots in the church; and Timxspnt, a self-driven creative force whose album Lord Please Don’t Forget About Me disrupts any notion of what Atlanta music should sound like.

The artists that Silvera-Robinson and Selders service aren’t ‘safe’ bets coming out of a city dominated by trap, but the duo enjoys managing a sonically diverse bunch that isn’t afraid to venture into musical territories foreign to mainstream hip-hop.

“There’s a lot more to Atlanta than what’s nationally seen,” Selders says. “There’s a different path to go down where it’s okay to be you and not do what you see all the time.”

Wealthy in Ambition supports those who venture down the path less traveled by working tirelessly to ensure that their artists are in a financial position suitable for their creative endeavors. Selders jokingly refers to their partnership as UMG (Universal Music Group) because of all the areas they have their hands in, from developing music video treatments and planning events to chiming in at recording sessions and setting up meetings with streaming services.

“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

Effective management can show people what they may not see in themselves, but Silvera-Robinson and Selders agree that having drive and passion is still crucial to realizing one’s full potential. In 2019, the uncompromising work ethic shared between Wealthy in Ambition and each of its artists brought everyone involved closer to their goals, and a genuine passion for music keeps them all focused on the year ahead.

Silvera-Robinson and Selders epitomize what it means to be young, ambitious, and Black. Their tale is inspiring — two friends who used to discuss music industry happenings in high school now making moves that will secure their place in rap debates of generations to come. And the fact that they’re having the time of their lives doing it makes it even better. —CL—"
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Their love of music has always been undeniable, but ambition is what launched their passion into a career. After witnessing the rise of great behind-the-scenes figures such as Oliver El-Khatib and Noah “40” Shebib, their fandom evolved into inspiration, and eventually, Robinson and Selders shifted their sights away from music consumption to its production.

“We were just two music nerds in high school that were like, ‘Yo, we can do this shit better,’” says Silvera-Robinson (no relation to the author). “That was really it — two niggas saying, ‘Why can’t we do that shit?’”

Wealthy in Ambition was formed by two young Black men dedicated to bringing something different to the music industry. Today, the management company works with four intriguing local talents: Zaia, an Arista/Sony artist who just finished touring with Skizzy Mars; Atlanta Xay, a producer and songwriter with collaborative ties across the city; Tonye Ayeba, a soulful multihyphenate with musical roots in the church; and Timxspnt, a self-driven creative force whose album Lord Please Don’t Forget About Me disrupts any notion of what Atlanta music should sound like.

The artists that Silvera-Robinson and Selders service aren’t ‘safe’ bets coming out of a city dominated by trap, but the duo enjoys managing a sonically diverse bunch that isn’t afraid to venture into musical territories foreign to mainstream hip-hop.

“There’s a lot more to Atlanta than what’s nationally seen,” Selders says. “There’s a different path to go down where it’s okay to be you and not do what you see all the time.”

Wealthy in Ambition supports those who venture down the path less traveled by working tirelessly to ensure that their artists are in a financial position suitable for their creative endeavors. Selders jokingly refers to their partnership as UMG (Universal Music Group) because of all the areas they have their hands in, from developing music video treatments and planning events to chiming in at recording sessions and setting up meetings with streaming services.

“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

Effective management can show people what they may not see in themselves, but Silvera-Robinson and Selders agree that having drive and passion is still crucial to realizing one’s full potential. In 2019, the uncompromising work ethic shared between Wealthy in Ambition and each of its artists brought everyone involved closer to their goals, and a genuine passion for music keeps them all focused on the year ahead.

Silvera-Robinson and Selders epitomize what it means to be young, ambitious, and Black. Their tale is inspiring — two friends who used to discuss music industry happenings in high school now making moves that will secure their place in rap debates of generations to come. And the fact that they’re having the time of their lives doing it makes it even better. —CL—"
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  string(5639) " Wealthy In Ambition  2020-02-04T20:59:05+00:00 Wealthy in Ambition.jpg     Management duo Wealthy in Ambition talks building something worthwhile 28531  2020-02-04T16:57:51+00:00 ATL UNTRAPPED: To be young, ambitious, and Black will.cardwell@gmail.com Will Cardwell Joshua Robinson  2020-02-04T16:57:51+00:00  Kai Silvera-Robinson, 23, and Nick Selders, 22, are two rap nerds from Cobb County who spent high school debating the merits of new music. Years later, remembering how they used to scour hip hop blogs for new releases still ignites sparks in their eyes. The way they refer to the early genius of Top Dawg Entertainment, or their first time hearing Mick Jenkins’ breakout mixtape The Water(s), is like hearing someone reminisce about getting their first car.

Their love of music has always been undeniable, but ambition is what launched their passion into a career. After witnessing the rise of great behind-the-scenes figures such as Oliver El-Khatib and Noah “40” Shebib, their fandom evolved into inspiration, and eventually, Robinson and Selders shifted their sights away from music consumption to its production.

“We were just two music nerds in high school that were like, ‘Yo, we can do this shit better,’” says Silvera-Robinson (no relation to the author). “That was really it — two niggas saying, ‘Why can’t we do that shit?’”

Wealthy in Ambition was formed by two young Black men dedicated to bringing something different to the music industry. Today, the management company works with four intriguing local talents: Zaia, an Arista/Sony artist who just finished touring with Skizzy Mars; Atlanta Xay, a producer and songwriter with collaborative ties across the city; Tonye Ayeba, a soulful multihyphenate with musical roots in the church; and Timxspnt, a self-driven creative force whose album Lord Please Don’t Forget About Me disrupts any notion of what Atlanta music should sound like.

The artists that Silvera-Robinson and Selders service aren’t ‘safe’ bets coming out of a city dominated by trap, but the duo enjoys managing a sonically diverse bunch that isn’t afraid to venture into musical territories foreign to mainstream hip-hop.

“There’s a lot more to Atlanta than what’s nationally seen,” Selders says. “There’s a different path to go down where it’s okay to be you and not do what you see all the time.”

Wealthy in Ambition supports those who venture down the path less traveled by working tirelessly to ensure that their artists are in a financial position suitable for their creative endeavors. Selders jokingly refers to their partnership as UMG (Universal Music Group) because of all the areas they have their hands in, from developing music video treatments and planning events to chiming in at recording sessions and setting up meetings with streaming services.

“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

Effective management can show people what they may not see in themselves, but Silvera-Robinson and Selders agree that having drive and passion is still crucial to realizing one’s full potential. In 2019, the uncompromising work ethic shared between Wealthy in Ambition and each of its artists brought everyone involved closer to their goals, and a genuine passion for music keeps them all focused on the year ahead.

Silvera-Robinson and Selders epitomize what it means to be young, ambitious, and Black. Their tale is inspiring — two friends who used to discuss music industry happenings in high school now making moves that will secure their place in rap debates of generations to come. And the fact that they’re having the time of their lives doing it makes it even better. —CL—    Joshua Robinson WHY NOT US: Kai Silvera-Robinson (left) and Nick Selders saw an opening and took a chance.  0,0,10                                 ATL UNTRAPPED: To be young, ambitious, and Black "
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Article

Tuesday February 4, 2020 11:57 am EST
Management duo Wealthy in Ambition talks building something worthwhile | more...
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  ["title"]=>
  string(40) "ATL UNTRAPPED: 2020 record release watch"
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  string(46) "Get ready for these highly anticipated records"
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  string(5428) "No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

Ahjee Parker: Carnival — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album Carnival should be a major creative leap forward.

Childish Gambino: Since the genre-derailment of his music with 2016’s funk opus ”Awaken, My Love!”, Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

The Queendom: Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut Queenshit Era. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

Playboi Carti: Whole Lotta Red — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s When I Get Home and Tyler, the Creator’s Igor. The only thing missing was his long-awaited follow-up to 2018’s infectious Die Lit. Carti is known to tease us with projects for years. Hopefully Whole Lotta Red lands sooner than later.

ATLANTA XAY: Although he released the five-track Venus E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

Omeretta the Great: Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with Welcome to the Jungle, but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

3: Although the autotune-wielding duo TheYouth! didn’t release anything last year, both Marsofyouth and 3 (aka Trefecta) offered a fair share of solo material. While Mars delivered a full-length project, 3 quietly dropped gems throughout the year, from “Feel Something” in April to “Paths” in November. Whether those singles remain loosies or not, expect a full-length from 3 that showcases his growth over the past year.

Deante’ Hitchcock: BETTER — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album BETTER is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since Revenge of the Dreamers III is nearing an end.

Run the Jewels: Run the Jewels 4 — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their Run the Jewels series is long overdue.

Killumantii: Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

SwaVay & James Blake: FUKKEEM — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects Pure Infinity and Pure Pack prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

Lil Baby: My Turn — Lil Baby is slowly becoming rap’s next unstoppable force. After a bubbling 2017 and a breakout 2018, the Quality Control artist had a relatively low-key year in 2019. Sure, his singles “Out The Mud,” “Baby,” and “Woah” all had successful runs, but otherwise, he took a backseat to his contemporaries. If the title of his upcoming album is a trust-worthy indicator, expect that to change in 2020. —CL—
"
  ["tracker_field_contentWikiPage_raw"]=>
  string(5608) "No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

__Ahjee Parker: ____''Carnival''__ — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album ''Carnival'' should be a major creative leap forward.

__Childish Gambino:__ Since the genre-derailment of his music with 2016’s funk opus ''”Awaken, My Love!”'', Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

__The Queendom:__ Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut ''Queenshit Era''. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

__Playboi Carti: ____''Whole Lotta Red''__ — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s ''When I Get Home'' and Tyler, the Creator’s ''Igor''. The only thing missing was his long-awaited follow-up to 2018’s infectious ''Die Lit''. Carti is known to tease us with projects for years. Hopefully ''Whole Lotta Red'' lands sooner than later.

__ATLANTA XAY:__ Although he released the five-track ''Venus'' E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

__Omeretta the Great:__ Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with ''Welcome to the Jungle'', but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

__3:__ Although the autotune-wielding duo TheYouth! didn’t release anything last year, both Marsofyouth and 3 (aka Trefecta) offered a fair share of solo material. While Mars delivered a full-length project, 3 quietly dropped gems throughout the year, from “Feel Something” in April to “Paths” in November. Whether those singles remain loosies or not, expect a full-length from 3 that showcases his growth over the past year.

__Deante’ Hitchcock: ____''BETTER''__ — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album ''BETTER'' is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since ''Revenge of the Dreamers III'' is nearing an end.

__Run the Jewels: ____''Run the Jewels 4''__ — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their ''Run the Jewels'' series is long overdue.

__Killumantii:__ Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

__SwaVay & James Blake: ____''FUKKEEM''__ — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects ''Pure Infinity'' and ''Pure Pack'' prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

__Lil Baby: ____''My Turn''__ — Lil Baby is slowly becoming rap’s next unstoppable force. After a bubbling 2017 and a breakout 2018, the Quality Control artist had a relatively low-key year in 2019. Sure, his singles “Out The Mud,” “Baby,” and “Woah” all had successful runs, but otherwise, he took a backseat to his contemporaries. If the title of his upcoming album is a trust-worthy indicator, expect that to change in 2020. __—CL—__
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  string(5942) " 3trefectaATLUntrappedJan20 Web  2020-01-03T17:52:06+00:00 3trefectaATLUntrappedJan20_web.jpg    atluntrapped Get ready for these highly anticipated records 27188  2020-01-03T17:42:01+00:00 ATL UNTRAPPED: 2020 record release watch jim.harris@creativeloafing.com Jim Harris Joshua Robinson  2020-01-03T17:42:01+00:00  No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

Ahjee Parker: Carnival — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album Carnival should be a major creative leap forward.

Childish Gambino: Since the genre-derailment of his music with 2016’s funk opus ”Awaken, My Love!”, Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

The Queendom: Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut Queenshit Era. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

Playboi Carti: Whole Lotta Red — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s When I Get Home and Tyler, the Creator’s Igor. The only thing missing was his long-awaited follow-up to 2018’s infectious Die Lit. Carti is known to tease us with projects for years. Hopefully Whole Lotta Red lands sooner than later.

ATLANTA XAY: Although he released the five-track Venus E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

Omeretta the Great: Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with Welcome to the Jungle, but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

3: Although the autotune-wielding duo TheYouth! didn’t release anything last year, both Marsofyouth and 3 (aka Trefecta) offered a fair share of solo material. While Mars delivered a full-length project, 3 quietly dropped gems throughout the year, from “Feel Something” in April to “Paths” in November. Whether those singles remain loosies or not, expect a full-length from 3 that showcases his growth over the past year.

Deante’ Hitchcock: BETTER — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album BETTER is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since Revenge of the Dreamers III is nearing an end.

Run the Jewels: Run the Jewels 4 — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their Run the Jewels series is long overdue.

Killumantii: Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

SwaVay & James Blake: FUKKEEM — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects Pure Infinity and Pure Pack prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

Lil Baby: My Turn — Lil Baby is slowly becoming rap’s next unstoppable force. After a bubbling 2017 and a breakout 2018, the Quality Control artist had a relatively low-key year in 2019. Sure, his singles “Out The Mud,” “Baby,” and “Woah” all had successful runs, but otherwise, he took a backseat to his contemporaries. If the title of his upcoming album is a trust-worthy indicator, expect that to change in 2020. —CL—
    KYE SAMS FEEL SOMETHING: 3 is one of many local artists with a much anticipated album in the works.  0,0,10    atluntrapped                             ATL UNTRAPPED: 2020 record release watch "
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Friday January 3, 2020 12:42 pm EST
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