DC Hip-Hop Indie/Underground 2012 Preview

by Marcus K. Dowling

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Though all signs would show that DC area hip hop is prepared for unprecedented mainstream exposure, the heart of DC’s rap history is undoubtedly based in the underground and independent realm. Obstinate local residents have an inherent chip-on-the-shoulder mentality, largely related to the words “taxation without representation.” This manifests itself in the hip hop world with an overcrowded scene of extraordinarily lyrically gifted performers, all yearning for an instant of mainstream recognition that they’ll turn into a career-defining moment. When contemplating 2012 for the local area, Washington’s underground remains as talented as ever. But just as DC’s population has radically changed, the rules for success have as well.

Top local Tabi Bonney and Oddisee now have far more of a tangential relationship to the area’s underground scene, .Bonney now comfortably resides on Capitol Hill, connections with Ski Beats and Damon Dash proving beneficial. Oddisee? The DC native is now a resident of planet Brooklyn, his style and grind better suited to the highest levels of the independent realm. Though well respected, neither emcee bears any level of direct and impacting relevance to the city’s current situation. Having crossed over and reached financial success, to compare their grind to that of the rest of the city, on any level, is entirely unfair. Does this leave the market wide open? Seemingly, but upon further review, the area’s next great underground star now shines brighter than ever before.

It’s not Phil Ade. The earliest adopter of the values DC’s present blipster/hipster population surge, the PG County native’s most significant shortcoming was that the city was not comfortable with these new cultural values at the start of his rise. Ade’s earliest mixtape material would be a magnificent soundtrack for DC in 2012. Positive and culturally aware pop blended with intellectually stimulating lyricism mirror the aims of new-to-DC gentrifiers and the area’s cultural creatives. Instead, stalled as a performer, his latest track “P.O.P. Music” with left coast stoner performer Casey Veggies makes the performer feel like a lyrically adept trend chaser, instead of a hot artist in a hot city with an organic movement. It’s unfortunate, and hopefully the 368 Music team can solve the issue.

It’s not Phil da Phuture, Kingpen Slim, Fatz da Big Fella, Boobe or any of the city’s other more radio friendly performers, either. It’s time that these artists realize that DC is a refreshed scene filled with a bounty of new opportunities. There is such a thing now as “commercially successful pop rap” in the city, and these rappers, with their hook friendly radio material feel cheapened and less than impressive when showcased as “underground.” So many square pegs filling so many round holes, promoters would do well to promote these artists with far more prominence in nightclubs and more glamorous spaces, as their personalities deserve the limelight. Relatedly, poor matches between performers and venues must be eradicated for DC to ascend to the space it has recently been afforded in the national consciousness.

It’s not coming from East of the River…yet. Performers like Topdolla Sweizy, the Slutty Boyz, Shy Glizzy and others barely old enough to carry firearms and drink legally are next. It’s ultimately extremely important for both rappers and promoters alike to both nurture them and welcome their talents into the underground mainstream. As party rappers, they’re capable at the moment of being one hit wonders. But the difference between being Young Dro and T.I. comes from having the depth and breadth as an artist to excel. Giving these hungry young men these chances is imperative.

The next great underground rapper from Washington, DC? It’s obviously Uptown X.O. Combining the honest lyrical sharpness of Pro’Verb or Lyriciss with the griot-like nature of Black Indian, the pop sensibilities of Kingpen Slim and Wale’s indomitable spirit. Simply put, the Georgia Avenue, NW native is the city’s next great thing. Differentiating him from others is not only his level of respect from both the old and new order of DC culture. XO excels because he seems not so much caught up with getting on, but consistently staying great. From tracks “For Real Niggas Only” to Diamond District’s “Streets Won’t Let Me Chill” and consistently excellent mixtape projects, he sets a standard for always being on point, and now leads the pack.