The Diverse Sounds of Nashville Rap's Present and Future

Jefferson Street, not Broadway. Out East, not East Nashville. Prince’s Hot Chicken, not Hattie B’s. 

Just like the tourism that courses through Nashville weekly, there’s a vast disparity in covering the authentic sights and sounds of Nashville’s music scene. The systemic gentrification of the city isn’t just the “tall and skinnies” [apartment buildings] that are rapidly snaking through historic Nashville neighborhoods, it’s also the inability to acknowledge the true roots of Nashville music culture. Even most Nashville natives are astonished to learn it was HBCU Fisk University’s jubilee singers that birthed Nashville’s “music city” name.

“Condos just keep coming up and generations going down - look around your hood might be next.” - Brian Brown

It would be easy to presume that a lot of budding rappers wouldn’t want to compete in a market that doesn’t appreciate their contributions. While some might migrate towards more hip-hop friendly cities, most of Nashville’s top talents aren’t going anywhere. Local rappers once inspired by native (yet distanced) stars like Young Buck have shifted towards new leadership: leadership that is actively listening to sounds of the city. One of the galvanizing individuals changing the landscape of the scene is producer, engineer, and composer Ron Gilmore. The experienced artist, who’s performed with Lauryn Hill and notably produced multiple Gold and Platinum records in J. Cole and Dreamville’s catalog, is frequently back in the city bringing resources and sharing studio sessions with droves of local talent.

With ten toes entrenched in the mud, the unrelenting hustle that powers these Nashville artists is now reaching far beyond the city limits. Meet some of the key figures in the vibrant present and future of Nashville rap.

If you find yourself walking around Nashville, there’s a chance you will run into Brian Brown perusing the city on foot. Few are as knowledgeable about their hometown roots as Brown, and with his January album release Journey, Brown gracefully shared the story of his own life and experiences in the city of Nashville. 

Dropping at the top of 2020, Journey is a powerful, immersive project. Whether it’s the intricate delivery of “Runnin” (featuring Reaux Marquez) or the uncanny dissection of the city on “Flava,” Brown has captivated the minds of listeners far outside the 615. While some fans understandably  like to focus on his experiences as a member of The House with the likes of Isaiah Rashad, Tiggi, and YGTut, Brown’s own sound and story deserve to be heard.

Brian Brown hasn't slowed down after releasing his album, with regular singles and the recent Vanity Pack. “I was just fed up with the world and everything that followed the murder of George Floyd; I had to put it in writing,” he tells us. The two-track drop featuring seamlessly highlights Brown’s ability to demand your attention with his tonal shifts and hyperfocused story-telling over warm, richly textured beats.

Successful is the individual who shows his worth, not speaks it. That mantra seems to be the code that Reaux Marquez operates by; one of poise and diligence regarding his craft. If you’ve had the chance to meet him, you’ve sensed a tangible aura of intention in the few words he speaks. Reaux is a member of BlackCity, a label, collective, and group of friends who are pursuing success on their own terms, in their own city. From concerts to fundraisers, and everything in between, BlackCity has proven their loyalty to their hometown tenfold.   

To Marquez, Nashville has always been a diverse community for creative endeavors. “The 'ville is the artists' paradigm. Everything here is built around an art form. But the black/hip-hop culture of this city runs deep, even spinning off of the strength of the Jubilee Singers, it's soulful here. Nashville doesn't have a specific sound, and while it might be tight, I pray we never do. Every artist here has different sonic influences and nothing sounds the same on our side of the scene. Even artists from the same neighborhoods, it's all unique and transparent,” Marquez explains. 

Marquez’s latest release, NO DECOYS,  is a confirmation of his belief in the city. Every aspect of the project is birthed from the streets of Nashville. “We did NO DECOYS in a spread two weeks around an LA trip," he says. "The EP signifies freedom, free-formed modules, and untagged/labeled art; more importantly my message of the title is to rid of all distractions (decoys) sent to keep you fixed on a certain path."

Recently included in our Best New Artists feature, Chuck Indigo has captivated listeners far outside the confines of Nashville and hasn’t tapped the brakes for the majority of 2020. A few months back, Indigo released his fourth full length project, No Moor Bad Days. The 13 track LP not only highlighted Indigo’s sui generis vocals, but also enlisted the talent of some of Nashville’s budding hip-hop and R&B talents, including RyAnne, Jordan XX, A.B. Eastwood, Demo, Ron Obasi, and Jxdece. The majority of these featured artists also reside on Indigo's hometown label and collective, Third Eye. 

Back in July, I sat down with Indigo to listen through an early version of the album. Our discussion ranged from his impactful choices of skits, intros, and outros to his 2,000 point legacy in collegiate basketball. If Indigo isn’t writing, you might also catch him cooking up in either the kitchen (share the seafood dressing recipe, Chuck), studio, or on the court.

Check out Indigo’s latest release, No Moor Bad Days, and a powerful video from 2020, “Bad To The Bone,” directed by Nashville cinematographer Seck.

A member of Nashville’s Third Eye collective alongside Chuck Indigo, Obasi’s penmanship and poetic lyricism have earned him a spot as one of the best writers in the city. In the past few months, Obasi’s growth landed him a spot on the famed southern comedy/hip-hop program, The 85 South Show. The show itself was an undoubted success, but nearly the antithesis of how Obasi operates on a day to day basis. If it were up to him, Obasi would prefer his solitude alongside his daughter—his closest confidant. 

Most recently, Obasi delivered once more with a project titled The Sun Tapes. “Sun Tapes was really about getting out of the way of what my initial creative plans were and listening to what my soul and spirit wanted me to be a vessel for. These songs represent sharing that light of yours, and making sure that shit shines bright in the first place. As well as shedding light on forces outside, how to push through on the journey,” he explains. 

Obasi’s journey, both spiritually and creatively, has not only illuminated a path for himself, but for the next generation of Nashville artists. Check out Sun Tapes below. 

Watching Case Arnold in his home studio is a therapeutic experience. Tapestries line the walls of the cozy creative space, and his daschund Mugsy is pinned at his side. Just like any guest in the house, the pup is diligently watching and listening to the instrumental experimentation. You don’t have to be human to recognize the unique sounds echoing from Arnold’s discography. 

Hailing from Clarksville, TN—a 30 minute drive outside of downtown Nashville—Arnold has floated between the two cities for years now. Whether he’s in the military town or music city, Arnold has never faltered in his ability to blend his diverse influences into a beautiful sonic experience. “The Nashville scene was a gateway for me to my own discovery as an artist,” he explains. “I’ve been performing/creating in Nashville for almost a decade now and the feeling has never left about how special and unique the artists here are. Being from Clarksville I’m more than thankful for being welcomed into such a great city of creatives.”

Recently, Arnold along with Nashville’s super-producer A.B. Eastwood have been venturing to Los Angeles where they have been working alongside Common and his mentee, Bobby Gonz. Arnold was even in the studio writing for pop star Austin Mahone, showing his versatility has no end.

Born and bred in West Nashville, Trapperman Dale has held the streets of Nashville on his back alongside his labelmates at Grind Hard, Starlito and Don Trip. Moving quietly and with an undeterred resolve, Dale’s ability to float between catchy hooks and visceral story-telling have kept millions of listeners engaged over the past few years. 

Trapperman Dale is on a hot run of singles including “Juneteenth" and “Hotel Preston,” which follow an album, Flight Risk, from earlier this year. The latter of the two is a nod to the famous Nashville Hotel and the undeniable reminder that regardless of Trapperman’s music success, both he and Mobsquad Nard will always be able to formulate successful plays. With a mix of rapid-fire rapping and catchy melodies, Trapperman is one of Nashville’s burgeoning talents.

Knowing his catalog is as deep as his fanbase, we might be close to another Trapperman Dale full length album. We’re sure hoping that’s the case.

Back in 2018, Nathan Fouts went viral with a ridiculous video that included his song "Educated" playing in the background. The video amassed hundreds of millions of impressions and the song has millions of plays on DSPs. While the video was shared across the globe, the comments sections were eviscerating the stupidity of a young Fouts and his inability to properly handle a firearm. “I knew what the reaction would be to the video, and it was to be expected. What I didn’t expect was the continued virality of the clip,” Fouts explains. 

Regardless of your opinion on the viral stunt, Fouts’ musical talent has garnered just as much attention in Nashville and beyond. Outside of his own music, Fouts has been writing/producing for pop acts and routinely records alongside multi-platinum producer, Jim Jonsin (Lil Wayne's "Lollipop," T.I.'s "Whatever You Like" etc.). “Working with Nate is refreshing and honest," Jonsin tells us. "In a world where most new artists sound similar, Nate seems to tap into a sound unique to himself. Always challenging himself and others in the room."

Next up is his second album, Antihero, coming soon. “It’s a dark, introspective album at its core," Fouts says. "I’ve been working on it over the course of the past 5 years. The character in the album, a version of myself in a sense, is not to be idolized. The repugnant behavior and often contradictory visions throughout the project are meant to make the listener question the character, and possibly even themselves.” If you’re lucky, you might be able to catch the multifaceted talent entertaining tourists on the tractor that is consistently moseying the famed Nashville streets. Whether he’s gracing the stage or his workplace, Fouts is one of Nashville’s most intriguing entertainers.