@aideyfanaccount I get the sentiment of this. But to call the hip hop scene in Chs stale and stagnant is wild. Theres much more going on off the peninsula than on, from North Charleston to Ridgeville there’s a thriving movement of black clubs, events, concerts dedicated to breaking local talent and putting artists in some form of motion. For example,Keon recently linked with DJ Chuck T at a spot in North Charleston and has been doing showcases out of the city. These are specifically geared for hip hop and RnB and many opportunities I’ve seen and experienced have come out of these RELATIONSHIPS.
The peninsula tolerates, not celebrates hip hop and most black culture. This is just a historical fact. If it’s not fine arts, it’s not respected in the city. No one is visiting Charleston for its hip hop so we have to first understand this and the field we are playing in. There were no hip hop shows at the places we currently frequent, 10 years ago. People like DollaMenu, Slim Soul, Tyrie, Anfernee, Jah Jr, Apollo Valdez, Little Stranger, Damn Skippy brought hip hop to the peninsula. The new renaissance of rappers in the mix are supposed to elevate it. How can we expect people to rock with the scene when WE don’t.
Yes, things can be different if people came together but that’s the point. Theres so much tremendous talent here trapped by ego, point blank. People fear collaboration in local hip hop. People can’t take criticism without burning a bridge in local hip hop. People are extremely divisive in local hip hop. People don’t support each other in this shit or expand themselves outside of their comfort zones. Everybody wants to make it look a certain way on social media without cultivating what WE are creating here in Charleston. That’s why you see stagnation on the peninsula side of Charleston. LongMoney Phil, Kweena Dess, Laylow Lee, all non peninsula performers are 3 of the biggest hip hop artists out of Charleston rn. All three have been national major platforms, putting on for Charleston and shining light on the city.
Wu Tang at Music Farm was a MILESTONE for Charleston hip hop. A show FOR US BY US at one of the city’s most well known venues. But bro this was just last year. I say that so that you understand that, once again, hip hop has historically been tolerated and not celebrated here until the artists themselves started collaborating and creating major situations for the underground (ie Matt Monday, Black Dave, LeFaye, Slim) that made hip hop ‘a thing’ DT, JI, even Folly. These events still thrive and pop off but who else is working to create avenues for artists to pop? It’s not the venue. It’s not the sound. It’s the lack of know how when it comes to building and communicating in a music community with major talent and the artists becoming comfortable or settling for their market.
I go to, perform at, and have curated hella shows that are more than artists and producers. I have also seen the direct opposite many of times. It’s a process brother and if we can’t exist in this outside of ourselves then yes, this shit will continue to feel stale and stagnant for you. I love and am a fan of you bro and you bring a different style, sound, and community INTO the full network. That’s the point. Thats the reason why it’s not stagnant because all of these factions thrive in their sections but not many have taken the time to expand outside of it and see what’s truly out there. Network, support, collaboration is key. Then we can all get big ass chains like the homie DollaMenu but he EARNED that shit and really put in the work for years to pop like he’s doing.
The last few months have been particularly slow, but to call the scene ‘stale, stagnant’ and judge artists based on meta stats and releases is almost disrespectful to the ones in the community who bust ass BEHIND scenes to make shit shake forreal. People take different approaches that’s why we have studio artists and performance artists, and both. But there’s a difference. Psycodelics is arguably the biggest thing out of Charleston and they just released their debut single. It’s levels. We activated out here and it’s a bigger picture than this downtown, island, beach circuit.
Here’s a list of places and people you should definitely check out: Jungles Bar n Grill, The Ritz , Meeting of the Mindz, Mugga Man, DJ Chuck T, DJ Billy Surplus etc all entities that have packed out rap shows with artists, producers, business owners, fans. Heavy motion
I respect your opinion, but I emphatically disagree family-this shit is bigger than the 5-10 venues down here that we all circulate in.
After two years, his first full-length album since 2022, “Nothin’ Personal,” has finally dropped earlier this year, and it was absolutely worth the wait. From the moment he released the singles “Not One Flaw” and “Mr Perfect,” you could feel the buzz building-The anticipation was real, and the visuals he paired with these tracks only cranked up the excitement. Crucial has this incredible ability to weave personal narratives with themes that hit home for so many of us. It’s like he took the pulse of the city and put it into music, making “Nothin’ Personal” resonate deeply with listeners from all walks of life
Nu – Nigga Art
Now let’s talk about Nu and his powerful release, “Nigga Art.” This album is straight fire! It might just be the most lyrically charged work on our list. Known for his fierce delivery and that unmistakable New York influence, Nu takes listeners on a lyrical journey that tackles social, racial, and political issues head-on, and honestly, it’s one of my personal favorites in his catalog. The way he presents these heavy topics through his words is nothing short of genius. Set against a backdrop of smooth break beats and top-notch production, he’s crafted a project that doesn’t just entertain; it challenges us to think deeply about the world we live in. “Nigga Art” is a testament to the power of hip hop as a medium for storytelling and expression
Bluflame James n Hutch – Live from the Woods
If you’re not familiar with Bluflame James and Heartbreak Hutch, you need to get on that ASAP! Their debut collaborative project, “LIVE FROM THE WOODS,” is a breath of fresh air in our local scene. This album showcases their unique chemistry and signature smooth styles, all crafted exclusively by the duo. Each track feels like a narrative journey, pulling you into their world and leaving you wanting more. It’s not just music; it’s a vibe, a mood, and a representation of what happens when talented artists come together to create something special. “Live from the Woods” is a celebration of collaboration and artistry that truly stands out amongst the contemporary southern hip hop of the day
LGP Ammon – Father
my introduction to LGP Ammon came early in 2024, thanks to King Cutler from Holy City Records, and I was instantly locked in! “Father” is more than just an album; it’s a profound experience. LGP’s writing is potent, and this project goes beyond the usual lyrical exhibitions. It’s an introspective conversation that dives deep into the struggles and triumphs of young Black fathers. The raw emotion and authenticity in his writing create a powerful narrative that resonates with so many people. This isn’t just music; it’s a reflection of life, and it’s something every listener can connect with on a personal level. “Father” is a beautiful exploration of identity, responsibility, and the complexities of fatherhood, making it a must-listen for anyone who appreciates meaningful art
GNX – Album of the Year
the “rocky staircase of albums.” Each step in this project represents a victory he’s celebrated this year and where he stands on matters of hip hop, being dubbed the greatest, etc culminating in a collection that overall highlights his ascension as an artist. It’s clear he’s had one of the best single quarters of his career, and this album is proof of that hard work paying off. A real life victory lap.
3 Favorite Hip Hop Events
Cultura – Royal American
The return of Cultura has been a breath of renewed life into the independent Charleston music scene. Curated by Matt Monday and his Swim Unlimited team, this event featured a stellar lineup of regional artists such as Kuntry, Lil Boss,Comani, DJ Shamrock and more., Headliners included Duke Deuce, Domani, and local legend Nick Grant. It was a day filled with black excellence, great music, and invaluable networking opportunities, marking a significant moment in our local renaissance. Excited for their 4th annual coming in 2025
Wu-Tang and Pocket Full of Shells Tribute at Music Farm
This event stands out as my favorite show of the year. A collective of local hip hop artists came together to pay tribute to one of the most iconic concerts of the ’90s. Organized by Extra Chill’s Chris Huber, the night featured the full UnHeard Ent squad, Smoke Doji, DJ Mosaic, Mike Live, Slim Soul, and more, all repping for Wu Tang. Additionally, Loser Chris assembled an ensemble of musicians, including JR Spencer and Ben Mossman, delivering an unforgettable tribute to Rage Against the Machine that truly rocked the venue and one of Extra Chills most successful events
The Renaissance Show – Royal American
Collaborating with Nu of Unheard Ent, I had the honor of curating a diverse showcase of Charleston Hip Hop that spanned the entire genre. The carefully chosen artists that performed were DJ DollaMenu, King Cutler, Jon Giovanni, Port Baby, and JTRawww. Beyond the impressive lineup of performers, events like this highlight the depth and growth of hip hop’s influence within mainstream Charleston entertainment, proving that our local scene is thriving and evolving. Collaboration and unity is helping Charleston hip hop redefine its existence in the city. Instead of having the rapper of the year show, we would represent people that actively set the tone in charleston rap
The Microphone Madone aka Tiggy aka TJ Pettiglio, celebrated for his classic breakbeat style, is back with “Charleston Sun Heater.” This track features production and a rare guest verse from Ben Beam, the brain and brawn behind Charleston Underground. Tiggy’s contemporary, swing beat delivery complements Ben Beam’s smooth, unmodulated flow. Together, they showcase clever rhyme schemes and playful wordplay, merging their unique styles over a classic Ben Beam production. Don’t miss their newly released single “Charleston Sun Heater,” available now on all streaming platforms.
Up and coming Charleston rapper, Keon, just released a new single, “Wrist Bandit” produced by StormBeatz. I love the fact that Keon stays true to himself and keeps fun at the focal point of his style with witty word play, relateable concepts, and FLUID, high tempo flow that captures his energy. Don’t get it twisted though, Keon can also dig deep and ‘talk to ya’-like he does in previously released tracks “Letter to Iran” and “Hittin Me”. Tap in, put your wrists up, and stream “Wrist Bandit” by Keon aka Mr. Toyota.
@chelseagreenheart I feel where you’re coming from. However, the only reason why there is a struggle to muster up 100 votes is because the city paper is only scouting in select places. There’s a massive scene in North Charleston that if they tapped into it and those people were aware of the nominations you would get more people in tune with it.. The reason why those numbers are so low is because they’re searching the same place for different numbers every single year. And this isn’t just coming from the stand of hiphop. This is coming from every category, seeming to be regurgitated, and I personally feel when you have something with the influence of the Charleston city paper, if you’re not gonna be able to do it right then why do it at all? Scrambling to find names before release, It shows a lack of care and a lack of actual knowledge of what’s going on outside of all of the technicalities of how hard it is for a platform to be “inclusive”.
l the million dollar question is how Charleston is Charleston city paper really? How well does the group of people that choose nominees and the votes for nominations, know what’s actually going on in the city outside of live nation events?
If this paper is supposed to be representing Charleston, I don’t feel like this list of creatives, which are all beautiful and great to their respective rights, reflects where Charleston music, entertainment, and arts stands currently.
The Charleston City Paper’s nominee list this year feels like a regurgitation of past honorees, showcasing an alarming lack of awareness regarding the thriving local talent that defines our entertainment landscape in 2024. It’s disheartening to see such an important celebration of artistry fall short of its potential.
The CPMA Awards are meant to honor the best of the best in Charleston’s music scene, yet this year’s nominees paint a picture that is anything but current. The list fails to capture the immense wealth of talent that has emerged in the past year, instead recycling familiar names that, while deserving in their own right, do not represent the dynamic and diverse array of artists actively contributing to our culture today. When the same nominees are repeated year after year, it raises questions about the selection process and the City Paper’s engagement with the community it claims to represent.
In 2024, Charleston’s music scene is bursting with fresh faces and innovative sounds. New bands are captivating audiences, solo artists are pushing creative boundaries, and genres are blending in exciting ways. This vibrant ecosystem deserves recognition, yet it feels overshadowed by the nostalgia of the past and the financial gains of the future .
I can’t help but wonder if the newspaper’s editorial team is truly tuned into the local music scene. If they were, they would recognize that many of the nominees listed have been notably inactive this year, making their nominations not just questionable, but potentially misleading. In a community rich with talent, it is unjust for artists who are not actively contributing to be celebrated over those who are pouring their hearts and souls into their craft every day.
If the Charleston City Paper felt uncertain about the current landscape of our music community, perhaps they should have chosen to postpone the awards this year rather than present a list that does not accurately reflect the incredible work happening in Charleston.
In conclusion, it is time for the Charleston City Paper to take a step back and reassess its approach to the CPMA Awards. By embracing the wealth of talent that exists today and highlighting those who are actively shaping our cultural landscape, we can ensure that the awards truly reflect the best of Charleston’s music scene. It’s time to stop ‘defaulting’ nominee lists and actually get in tune with the vibrant, diverse, and dynamic talent that 2024 has to offer. The community deserves nothing less.
