Migos — The Rise to “Culture”

When Atlanta-based rap-star group Migos released their ‘Culture’ album on Friday, it gave the city of Atlanta a feeling it hasn’t felt in a while, probably since Future dropped ‘DS2’ back in the summer of 2015. It was, and is, a feeling of pride, triumph, and relief.

Yes, the Migos, like Future, are now popular mainstream artists with millions of followers on social media and a significant presence in hip-hop culture, but there was a very memorable time when they weren’t. Back then, they were just up and coming artists from the city (of Atlanta), who were making major waves locally. But they’re no longer just LiveMixtapes and WorldStarHipHop sensations. Now, their music projects are heard and received by much larger audiences and, for perspective, the momentum and pandemonium surrounding their live concerts overseas now give the shows in the States’ a run for their money.

But let’s be very clear; just because you have a larger audience doesn’t mean the general impression of your music at the time is necessarily favorable. Is it the major label/album curse that mixtape rappers who blow up are known for experiencing?! (see: Wiz Khalifa, Wale, Future, for examples.) Future signed with Epic Records, a major label, back in 2011. He then went on to release his first two studio albums under Epic between 2012 and 2014 and overall, people weren’t really receiving his music as well as they were on his mixtapes released prior and even in between. DS2, a sequel to his classic 2009 Dirty Sprite mixtape and his third album under the label, came out in the scorching hot summer of 2015, off the heels of his breakup with singer and new babymother Ciara. It was released right when Atlanta needed some trap music the most. And with the trap music God himself, Gucci Mane locked away for a then-unknown amount of time, Future stepped in as a placeholder for the city of Atlanta, and he did so exceptionally well.

Migos experienced this as well. From the summer of 2013, when Migos first blew up, until about the end of 2014, they seemed to have faded from the forefront of hip-hop and even Atlanta culture. After this period, their new music was still heard, played, and supported by radio of course, but it wasn’t anything compared to the two years prior. Group member Offset was also serving time at Bulloch County Jail in Statesboro, Georgia for some time during this period, which definitely played a significant role in hindering the group from a lot of potential opportunities and growth.

They signed to Atlantic Records and put out YRN, their first major label album in July 2015, around the same time that DS2 came out. But it was undoubtedly overshadowed. After releasing 3 back-to-back superb mixtapes reminiscent of his earlier days (Monster, Beast Mode, 56 Nights), Future was the king of Atlanta, and well, trap music, by the time DS2, his third album, was released.

For perspective, YRN sold 14,000 copies in the U.S. during its first week, compared to Future’s DS2 which moved 126,000 units during its first week, just a week prior. And to be frank, it just wasn’t as good. Not nearly. It had a couple of moderately successful songs on urban radio and related charts (“One Time,” “Pipe It Up”), but it still wasn’t the “Migos” album we wanted. It failed to really leave a mark and it’s honestly forgettable as an overall record.

Fast-forward to Q4 in 2016. The Migos are back, and better than ever.

The growth in notoriety throughout the years has also came with an obvious growth in their musicality; their chemistry as a group as well as their individual deliveries. The lyrical content is pretty much the same — there’s trapping, women, drugs, money, cars, more drugs, more money, and more braggadocio. But on Culture, the rap trio are more confident than they’ve ever been, more rich than they’ve ever been, and more experienced in the rap game than they were when they were first churning out hits like “Versace” and “Handsome and Wealthy” a few years ago.

Regardless if you consider yourself a fan of the Migos or not, they’re almost impossible to escape. You had to be hiding under a rock for the past few months to not have heard “Bad and Boujee,” the first single from Culture that went #1 on the Billboard Hot 100 and took social media and pop culture by storm. “Raindrops, drop top,” the super-catchy opening line of the song and the hook, got the entire world lit at the end of 2016, and it still is. You probably turned up a little bit inside just reading that. I still believe Lil Uzi Vert could have been left off of this record, and Takeoff would have delivered a much better verse than Uzi did instead of not having a verse, but it’s still a bop nonetheless.

The jump to the top spot on the chart was followed by a shoutout from Childish Gambino at the Golden Globes, which sparked a staggering increase in streaming points for the song, which was already performing well. The commercial success of “Bad and Boujee” was also a triumphant moment for the city of Atlanta, as well as hip-hop and black culture. It’s not everyday you get to see artists of color reach the peak of the Billboard Hot 100, especially a trap group. It was also a celebratory moment, I’m sure, for their record label. The best thing that could happen (for an artist or a label releasing an album) happened: the first single went #1 on the Hot 100, and it did it before the album was even announced. It was only right the label took advantage, releasing the cover art and release date of January 27, 2017 to the public soon after.

The Migos had gained the love and attention of the culture and the city again. It doesn’t feel crazy or undeserving though, but rather exciting and inspiring. Besides, “Bad and Boujee” is catchy as hell.

And the insanely catchy songs and accompanying hooks don’t stop there.  Try listening to “T-Shirt,” their second promotional single, just once. Quavo’s distinct voice has carried the Migos’ sound since the beginning, and his voice on the hook as well his background singing and humming vocals throughout the song give it the perfect touch. He continues to deliver similar background vocals throughout the album, especially on songs like “Slippery,” an instant club banger which features Gucci Mane and impressive verses from all 3 Migos.

Watch: Migos – “T-Shirt”

Outside of Lil Uzi Vert and Gucci Mane, the album also features contributions from 2 Chainz, Travis Scott, and DJ Khaled, who is brilliantly placed on the album’s intro. I’m interested in seeing what single(s) the group push next. “All Ass,” “Big On Big,” “Kelly Price?“ There’s literally an album full of them.

The replay value of the album is unlike any album and even mixtape the Migos have ever released before. There are a few fillers on here of course, but you don’t have to skip a song for quite some time on this record, if at all. With Culture, their latest and sophomore effort, the Migos got it right. They recognize their influence in hip-hop music as well as pop culture as a whole, and they delivered a dope body of work for both. It feels like they broke the major-label album curse like Future did; like the summer 2015 when DS2 arrived. It feels like the summer 2013 when “Hannah Montana” was on everybody’s playlist.

It feels damn good. Sounds good, too.