GRAMMY Rewind: Watch Baby Keem Celebrate "Family Ties" During Best Rap Performance Win In 2022 | GRAMMY.com (2024)

For Baby Keem and Kendrick Lamar, The Melodic Blue was a family affair. The two cousins collaborated on three tracks from Keem's 2021 debut LP, "Range Brothers," "Vent," and "Family Ties." And in 2022, the latter helped the pair celebrate a GRAMMY victory.

In this episode of GRAMMY Rewind, turn the clock back to the night Baby Keem accepted Best Rap Performance for "Family Ties," marking the first GRAMMY win of his career.

"Wow, nothing could prepare me for this moment," Baby Keem said at the start of his speech.

He began listing praise for his "supporting system," including his family and "the women that raised me and shaped me to become the man I am."

Before heading off the stage, he acknowledged his team, who "helped shape everything we have going on behind the scenes," including Lamar. "Thank you everybody. This is a dream."

Baby Keem received four nominations in total at the 2022 GRAMMYs. He was also up for Best New Artist, Best Rap Song, and Album Of The Year as a featured artist on Kanye West's Donda.

Press play on the video above to watch Baby Keem's complete acceptance speech for Best Rap Performance at the 2022 GRAMMYs, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

As summer slips away into September, the soundtrack to the fall is beginning to emerge with major releases from A-list stars across genres, along with promising rising talents from the worlds of pop, pop-punk, R&B, and international music scenes.

This week's new full-lengths include Miranda Lambert’s Postcards from Texas, The Wild Things’ concept album Afterglow (produced by Pete Townshend of The Who), COIN’s I’m Not Afraid of Music Anymore and Babyface Ray’s The Kid That Did.

Also out this week, Maddie & Tae drop their new EP What A Woman Can Do, BOYNEXTDOOR share the 7-track mini-album 19.99 and The All-American Rejects deliver a cover of Harvey Danger’s classic 1998 debut single “Flagpole Sitta.” Kendrick Lamar surprised fans with an exclusive release on Instagram following last weekend's announcement that he will headline the 2025 Super Bowl halftime show. Eminem and 2Chainz pay tribute to Kyrie Irving and Luka Dančić of the Dallas Mavericks with the single "Kyrie & Luka," while FKA Twigs dropped the single "Eusexua" alongside the announcement of her new album of the same name arriving January 2025. FINNEAS also released his second single, "Cleats" from his upcoming album, For Cryin' Out Loud.

Below, dive into 10 more releases worth checking out for New Music Friday, including new singles by Charli XCX and Troye Sivan, The Weeknd, Tate McRae, as1one and more.

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Charli XCX — "Talk talk featuring Troye Sivan"

“Talk talk” and it’s completely different but also still “Talk talk.” Charli XCX puts an earworm of a period on "Brat summer" by tapping bestie Troye Sivan to help totally reinvent the Brat fan favorite.

The new version is a tale of two flirtations, with Charli teasing a new fling to “talk to me in French/ Talk to me in Spanish/ Talk to me in your own made-up language” while Troye offers up an extravagant — and rather explicit — invitation to someone who’s about to have quite a good time with him in an Amsterdam hotel room.

Following Charli’s recent buzzy collabs with Lorde (“The girl, so confusing version with lorde”) and Billie Eilish (“Guess”), the latest remix off the pop star’s smash, zeitgeist-defining LP is a pitch-perfect amuse-bouche to her and Troye’s upcoming Sweat Tour, which kicks off Sept. 14 in Detroit.

GRAMMY U Members will have an exclusive opportunity to catch Charli XCX and Troye Sivan together at the 2024 GRAMMY U Fall Summit on Sept. 30 and Oct. 1 in Nashville, sponsored by Mastercard and Amazon Music.

Read More: Charli XCX's Road To Brat

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Baby Keem Wins Best Rap Performance | 2022 GRAMMYs | GRAMMY.comWatch Baby Keem Celebrate "Family Ties" During Best Rap Performance Win In 2022 | GRAMMY Rewind | GRAMMY.comMeet The First-Time GRAMMY Nominee: Baby Keem On Inspiring Rap's Next Generation, Why "Producer Artists" Are The Best & The Likelihood Of A Kendrick Lamar Collab Album | GRAMMY.comBaby Keem Has Arrived

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The Weeknd — “Dancing In The Flames”

Just days after revealing the title of his highly anticipated sixth studio album, Hurry Up Tomorrow, The Weeknd offers the first taste of it with the lead single, “Dancing In The Flames.”

The pulsating track lands right in the 4-time GRAMMY winner’s sweet spot of synth-drenched, blissed out R&B while revving up the tempo as he catapults toward loves destruction, singing, “I can’t wait to see your face / Crash when we’re switching lanes / My love’s beyond the pain/ But if I miss the brake / We’re dancing in the flames / It’s indescribable.”

The cinematic music video sends the singer into a kinetic, head-on collision, and the entire rain-soaked, colorful saga was shot on the new iPhone 16 Pro.

Tate McRae — “It’s ok I’m ok”

Still riding high off the success of her 2023 sophomore album Think Later, Tate McRae enters a new era with her latest single, “it’s ok i’m ok.” Building on the momentum of hits like “Greedy” and “Exes,” the song (released on Sept. 12) finds the Canadian pop star's ability to balance an unbothered attitude in the spoken word chorus with floaty, sensual falsetto verses.

The music video is a risqué romp through the chaos of New York City, complete with showstopping choreography from the 21-year-old Calgary native. The visuals pay homage to Britney Spears — a style McRae also referenced at Wednesday night’s MTV Video Music Awards, where she wore a sheer lace dress reminiscent of Spears’ iconic look from the 2001 VMAs.

Read More: How Tate McRae Turned A "Full Identity Crisis" Into Her Debut Album, I Used To Think I Could Fly

Brantley Gilbert — 'Tattoos'

Taylor Acorn — "Nervous System"

Taylor Acorn gets bright and brash on her debut album Survival In Motion. The rising pop-punk singer confronts a range of personal struggles, from battling mental illness and imposter syndrome on the energetic title track to brushing off the haters in “High Horse” and escaping a controlling relationship in “Greener.” All of this unfolds against a backdrop of hard-charging guitars, crashing drums and refreshingly candid songwriting.

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Jordin Sparks — 'No Restrictions'

Nearly four years after her last full-length, 2020’s holiday-themed Cider & Hennessy, Jordin Sparks returns with her new album, No Restrictions.

The "American Idol" champ remains true to her R&B roots on her fifth studio album. Tracks like the surprise pre-release single “Remember,” along with standouts like “Forever” featuring T-Pain, “Where There’s Smoke…,” the Stonebwoy-assisted “No Cry” and the bumping “YCFWM,” show off her luminous voice with a surprising amount of swagger.

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JVKE & Nick Jonas — “this is what forever feels like”

JVKE and Nick Jonas have been teasing their new collaboration to eager fans for what feels like forever, but the wait was well worth it for the swooningly romantic track. Each singer takes a turn daydreaming about a love that will stand the test of time, lasting “until [they’re] 70.”

After JVKE, the “golden hour” crooner, recounts his first heartbreak at 17, Jonas steps in with a sweet and sultry verse that’s clearly dedicated to his wife of nearly six years, Priyanka Chopra, singing, “Baby, I’m so into you / I’ve lived a thousand lives/ can’t go a single night / Without you.”

Related: Inside Jonas Brothers' The Album

as1one — ”All Eyes On Us (feat. Nile Rodgers)"

Fresh off walking the red carpet at the MTV VMAs, multicultural boy band as1one launch their bid for pop stardom with debut single, “All Eyes On Us.” The Israeli-Jewish and Palestinian-Arab sextet get an assist from Nile Rodgers on the funky dance floor anthem, which finds the group soaking up the spotlight as they sing, “It’s like the whole world’s watching / We gonna dance like we’re all on an mission / All eyes on us!”

Later this year, prospective fans will get a deeper look into as1one's formation, artistry, and message of unity through a four-episode docuseries on Paramount+.

Suki Waterhouse — 'Memoir of a Sparklemuffin'

“This isn’t Fashion Week!” an enraged director screams early in the music video for Suki Waterhouse’s latest single, “Model, Actress, Whatever.” From that moment on, the English It Girl and indie pop darling proves yet again that walking the runway is just one of her many talents as she sings, “All of my dreams came true / The bigger the ocean, the deeper the blue / Call me a model, an actress, whatever / Other half of my baby, we stay together.”

The deeply personal track arrived just days before Waterhouse unveiled her sophomore studio album, Memoir of a Sparklemuffin, which also includes previously released singles “To Love,” “OMG,” “My Fun,” “Faded,” “Supersad,” and “Blackout Drunk.”

Ronnie Dunn and Ira Dean — “Tele-Man feat. Vince Gill, John Osborne and Brent Mason"

Ronnie Dunn and Ira Dean assemble an all-star cast of collaborators for their new single “Tele-Man” featuring Vince Gill, John Osborne and Brent Mason. Together, the five musicians create a modern-day homage to The Traveling Wilburys as they unravel an ode to one of country music’s most iconic instruments: the Telecaster guitar.

With Mason playing the titular role of “Tele-Man” on the instrument, his collaborators string out an energetic, deliriously tongue-twisting yarn that name drops everyone from Merle Haggard, Willie Nelson and Waylon Jennings to Johnny Cash, Jerry Reed and Patsy Cline before giving illustrious credit to the “finger-lickin’, chicken pickin’ Tele-Man” behind all the greats.

On the eve of the first-ever Olympic breakdancing competition, hip-hop legend Kurtis Blow was thrilled. It was the first time one of the core elements of hip-hop culture had reached such a global stage.

Alongside DJ Kool Herc (whose breaks provided the soundtrack for B-boys and girls), Blow is credited with popularizing breakdancing. The rapper began breaking as a teenager in the early 1970s, as part of the Hill Boys breaking crew — named for the Sugar Hill area of Harlem where Malcolm X first started his galvanizing pro-Black movement —

And while the International Olympic Committee decided to remove breakdancing from the 2028 Olympics, Blow is unbothered. As far as he’s concerned, his legacy and the legacy of breaking itself is all but set in stone.

"It was definitely something special," Blow tells GRAMMY.com. "And I wasn’t the only one who realized it at the moment it was happening."

Born Kurtis Walker, the Harlem-based Blow began DJing when he was just seven years old. In 1979, the 20-year-old's "Christmas Rappin’" sold over 400,000 copies and turned the up-and-comer into a household name. But it was his follow-up single, 1980’s "The Breaks," that helped launch a whole new genre: rap music. "The Breaks" became the first hip-hop album to receive a gold certification from the RIAA, and proved that Blow wasn’t just a one-trick pony.

Kurtis Blow proved to be immediately influential on the then-nascent rap scene. When Rev. Run of Run-D.M.C. started his career, he billed himself as "The Son of Kurtis Blow" to give him an air of credibility that helped propel the hip-hop trio into the pop culture stratosphere. But Blow's influence didn’t begin and end with his "adopted son": Everyone from Russell Simmons to Wyclef Jean has worked with Blow, and he has been sampled by Nas ("If I Ruled The World" is all but an interpolation of Kurtis Blow’s song of the same name), KRS-One and many others. In fact, more than 100 songs have used samples from "The Breaks," and nearly 1,500 songs have used a sample or an interpolation from Blow’s discography.

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Kurtis Blow was also one of the first rappers to sign to a major label (Mercury Records) and was the first rapper to be a multihyphenate (in addition to his music, Blow worked as an actor on films like In a Dark Place and California Dreamers, and was the musical coordinator for the legendary hip-hop film Krush Groove). Blow continues to work steadily in hip-hop today, though he eschews the legendary breaking parties in favor of cultural events that offer a new glimpse into the culture he helped create.

To wit, Blow is performing with The Hip Hop Nutcracker, in which Tchaikovsky’s classic score is set to breakdancing and modern hip-hop dance; the emcee will perform a brief set to kick off each show. A nationwide tour kicks off in Southern California in November and concludes at the end of December in Durham, North Carolina.

Kurtis Blow spoke with GRAMMY.com about the importance of bringing breaking to the Olympics, reconciling his ministry with modern hip-hop’s message, and his four-decade legacy.

This interview has been edited and condensed.

Breakdancing has been a huge part of hip-hop culture for many, many years — and it’s long overdue to be recognized on a global scale like the Olympics. What are your thoughts about seeing this movement that you started getting this kind of recognition?

This whole culture that we call hip-hop started back in the 1960s. With the Civil Rights movement, community organizers, and government officials all debating about something so basic: the right to all be seen as equal and free. It was a traumatic time, you know? But we had music that was so relevant to the whole movement.

By the time the late 1970s and early 1980s came along, everyone was trying to escape all of the traumatic racism that was still going on. And music became our escapism. That’s where breaking came in: everyone was just trying to mimic James Brown on the dance floor. You’d see one guy doing his thing, and everyone would form a circle around him. Pretty soon, someone else would join the circle and challenge him. And before you knew it, there was a whole competition — and whoever won became the most popular in the club.

That kicked it all off. To see it recognized on such a large scale just reaffirms, to me, that this hip-hop culture of ours was made with love.

There were breaking films such as 1985's 'Krush Groove' that were completely revolutionary in that it gave everyone — not just those within the culture — a view into the world of hip-hop, and suggested what it could become. At the time, you were becoming the first commercially successful rapper and one of the pillars of what would become the New York sound. Were you aware that you were on the precipice of something revolutionary?

I don’t want to call myself a visionary or anything like that, but I did know that this was something special, because I saw how quickly it spread around different boroughs in New York City.

From Harlem and the Bronx, and then over into Queens, Brooklyn, and even New Jersey, it was amazing to see everyone just gel around that whole hip-hop scene. As I said before, we all needed that escapism, you know? Forget about your troubles, just come and dance.

With me being in Harlem, right down the block from the Cotton Club and that whole mindset around dancing becoming America’s pastime — just coming from that era, where we had to go to the parties to have a good time — [I knew] that we had created something that would outlast us.

Not only did you attend divinity school, but you are also an ordained minister. How do you bridge those two aspects of your life and how do you reconcile being a rapper with being a minister?

That is such a great question, and thank you for asking.

It’s very simple: God is the Creator. God created hip-hop. We have to start with that, right here. God gave us the talent to perform the music; he gave us the passion to want to spread the music to the masses. He gave us the desire to say, "Hey, come take a look at me! God has blessed me with this — can you do this?"

Now, when you talk about the actual elements of hip-hop — that is, the emcees, and the message that we bring — it’s crucial to understand that we are commanded by God to uplift our community and to show them love. This is the actual essence of hip-hop: peace, unity, love, and just having safe fun.

My mission is to believe in the faith that God is real, and God is in the miracle business. I have seen nothing but miracles for the last 45-50 years in this thing called hip-hop. And it’s important to understand that God is in the mix, and we are all blessed by the common denominator known as hip-hop. It should be our mission to get that back.

As for what’s going on today — the nature of the lyrics, the gangster rap, and all the violence — it didn’t really start out that way, did it? And if we can inspire the future for our youth, then we’ve made a difference. Because the future is in their hands, and we need to inspire them.

But, as a counterpoint, times are different today. And what these men and women are speaking to may not necessarily be destructive — rather, there could be a case made where they’re merely being street poets, and telling the reality of life as they see it. What advice would you give to those people who are telling a different story than the one you told all those years ago?

We are called to be these soldiers, warriors, servants, and communicators. So I understand their reality is different, you know? The world is upside down. The kids out there are just telling it like it is. They’re communicating their reality.

But I think that we should not only communicate how it is, but how it could be. And how it should be.

Think of how different it would be if they also gave some inspiration for a positive future: "Yeah, we goin’ through this, we goin’ through that, but with God, you can overcome all of that. With prayer, you can have miracles, and blessings, come down."

Even if you just understand the nature of the reality that we’re going into right now — things like mass incarceration, the drug epidemic, gun violence, the war profiteering off of Black and brown bodies — it falls upon the shoulders of the elders of this community, this hip-hop movement, to inspire and communicate the possibilities to the younger up-and-comers.

They need to understand that they are the product of royalty. They are the descendants of kings and queens of Africa. They need to honor themselves and honor their ancestors, accordingly.

The culture of hip-hop isn’t just about the music. It’s about fashion, slang, cars, the sports — if you think about it, anthropologically, hip-hop is a civilization onto itself. But, as with all things, so much of it has been co-opted and mainstreamed. How do we bridge the divide between the originators and the colonizers?

Only love can bridge that gap between the ages, the races, our government — the diversity of all these different countries — you know, it needs to be all love.

This is what it’s going to have to take for us to change our present reality. And I feel that in hip-hop, that is the key to that future. The OG’s had the right mindset: peace, love, unity, and having safe fun. We need to get back to that.

When you look back on your career and the legacy you leave behind, how do you want to be remembered?

I remember being in divinity school at Nyack College in New York, and the professor asked the whole class the same thing. And I thought about it for a while, you know? I thought about being remembered as a pioneer of hip-hop — an OG breakdancer — a DJ when I was just seven years old — and an incredible educator.

But what stuck with me was being known as a man of God. That’s it. Because that encompasses everything that I have been through and survived. All of my success, and everything you know about me, comes from God — and to God be the glory.

GRAMMY winnersKendrick LamarandMustardhave long repped their California roots. Earlier this summer, their powerhouse anthem"Not Like Us" brought West Coast rap back to its roots and shone a global spotlight on the scene.

Lamar and Mustard are at the forefront of a renaissance in West Coast rap. Their shared roots in Southern California cities — Mustard from Los Angeles and Kendrick from Compton —addsauthenticity and resonance to their partnership. Their undeniable chemistry was on display in the video for "Not Like Us," whichreceived a million viewsless than an hour after its release.

Mustard's signature beats and Lamar's profound lyricism has resurfaced the sound and culture that makes West Coast rap so unique and paved the way for a new generation of artists. All signs suggest that another impactful collaboration may appear on Mustard's upcoming album,Faith of A Mustard Seed.

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Kendrick Lamar headlined the electrifyingPop Out concert on Juneteenth, which also featured sets from Mustard and DJ Hed. The event saw a handful of L.A. rappers, opening for Lamar in a showcaseof thevibrant talent that defines the region's rap scene.

The West Coast is a vast reservoir of talent, stretching from theBay AreatoSeattle. At the heart of this creative expanse is Los Angeles, which brings fresh perspectives, innovative styles, and renewed energy to hip-hop, ensuring the genre thrives. With the stage set for these newcomers to shine, it's the perfect time to take a closer look at some of the rising talents poised to impact the rap scene. While this list only scratches the surface, it offers a glimpse into the diverse and exciting talent from SoCal, the epicenter of the West.

Blxst

Arising from Los Angeles, Blxst initially played the background as a producer but soon demonstrated his ability to excel across all facets of music creation. Blxst's breakout moment came with his platinum-certified single "Chosen," which solidified his place in the music industry. His collaboration on Kendrick Lamar's "Die Hard" from Mr. Morale And The Big Steppers further showcased his skill for crafting hooks that elevate tracks, resulting in two GRAMMY nominations.

As he prepares to release his debut album, I'll Always Come Find You on July 19, Blxst stands at a pivotal point in his career. With a great resume already to his name, his forthcoming album promises to showcase his undeniable talent and leave a lasting impact on the West Coast music scene.

Bino Rideaux

Bino Rideaux is a South Central native and frequent collaborator with the GRAMMY-winning rapper Nipsey Hussle. He is the only artist to have a joint project with Hussle, No Pressure, released before the prolific rapper's untimely death. Rideaux has hinted at having a treasure of unreleased music with Hussle, saved for the perfect moment and album.

Rideaux is known for creating tracks that get the city outside and dancing. He has made three beloved projects with Blxst, titled Sixtape, Sixtape 2, and Sixtape 3 resulting in sold-out shows and a special place in West Coast Rap fans' hearts. Endorsed by industry heavyweights like Young Thug, Rideaux continues to carve his path at his own pace. His journey is nothing short of a marathon, echoing the enduring legacy of his mentor.

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Kalan.FrFr

Kalan.FrFr, whose name stands for "For Real For Real," is an artist whose music is as genuine as his name suggests. Growing up in Compton and Carson, Kalan.FrFr has always stayed true to his roots, and exudes the unyielding confidence essential to making it in the City of Angels.

His breakthrough mixtape, TwoFr, showcased his ability to shine without major features, delivering verses with catchy hooks and melodic rap. He's shown he's not confined to one sound, delivering vulnerable tracks like "Going Through Things'' and "Never Lose You." His EP Make the West Great Again, Kalan.FrFr both proves his loyalty to his origins and highlights his versatility. Kalan.FrFr's signature punch-in, no-writing-lyrics-down style keeps his fans on their toes, ensuring that whatever comes next is unpredictable but authentic.

Jayson Cash

Jayson Cash, a rapper hailing from Carson — the same city as TDE artist Ab-Soul — stays true to West Coast rap, from his lyrics to his beat selection. Listening to Jayson Cash's music is like diving into a vivid life narrative. His prowess as a lyricist and storyteller shines through in every verse. He gives his fans an insight into his journey, making it a relatable music experience.

Cash made waves with his debut mixtape, Read The Room, and scored a Mustard beat on the song "Top Down." Two years later, their collaboration continues, with Cash writing on Mustard's upcoming album. Though often seen as an underdog, Cash is not to be underestimated, earning cosigns from West Coast legends like Suga Free and Snoop Dogg. His latest project, Alright Bet, includes a notable feature from Dom Kennedy.

310babii

310babii has achieved platinum-selling status at just 18 years old, while successfully graduating high school. Yet 310babii's career began in seventh grade, when he recording songs on his phone showing early signs of motivation and creativity. His 2023 breakout hit "Soak City (Do It)" quickly gained traction on TikTok — and caught the ears of Travis Scott and NFL player CJ Stroud.

As the song grew in popularity, it led to a remix produced by Mustard, who invited the Inglewood native to join him onstage during his set at The Pop Out. 310babii's innovative spirit shines through in his distinctive visuals, exemplified by the captivating video for his song "Back It Up." His recent debut album, Nights and Weekends, released in February, underscores his evolving talent and promise within the music industry.

Metro Boomin has spent more than a decade redefining rap music. The gloomy, 808-induced trap beats that flood radio airwaves and blare from nightclub speakers are a symbol of his influence. But now, the Atlanta-based superproducer is on one of his biggest musical runs to date.

In April, Metro released the second of two joint albums with Future, hinted at a third release this year, sold out a concert at the Kundalini Grand Pyramids in Egypt, and clinched the No. 1 spot on Billboard’s Hot 100 with "Like That" featuring Kendrick Lamar. He also delivered a first-of-its-kind instrumental diss aimed at Drake called "BBL Drizzy," accusing the Toronto rapper of going under the knife.

The diss was in response to Drake’s "Push Ups" and subsequent disses toward Kendrick Lamar. "Metro shut your hoe ass up and make some drums" he rapped. The verbal blow inspired Metro to release the hilarious instrumental, which he encouraged fans to rap on for a chance to win a free beat.

Months before the feud, Metro celebrated two nominations for Best Rap Album and Producer of the Year, Non-Classical at the 66th GRAMMY Awards. While he didn’t take home a coveted golden gramophone, the momentum has elevated his career to new heights.

Before the St. Louis-bred producer kicks off the We Trust You tour with Future on July 30, revisit 10 of Metro Boomin's biggest releases.

"Karate Chop" (2013)

A 19-year-old Metro crafted his first charting single right before making a life-changing move to Atlanta. With piercing synths and bubbly arpeggios, the song was the lead single for Future’s highly anticipated sophomore album, Honest.

But Metro, a freshman at Morehouse College at the time, wasn’t sold on its success. "I never really like it," Metro told XXL. "Then every time people would come into the studio, he would always play the record and I was like, ‘Why are you so stuck on this s—? We have way harder records.’"

But after cranking out a new mix on the original track, "Karate Chop" went on to become his first placement on a major label album. The remix with Lil Wayne further elevated the record and, by virtue, Metro’s profile as a musical craftsman.

"Jumpman" (2015)

Metro mastered the late-summer anthem in 2015 with "Jumpman." The song was the most notable hit from Drake and Future’s collaborative mixtape, What a Time to Be Alive, and went on to shut down bustling nightclubs and obscure strip joints. And while the record didn’t perform as well as other songs on this list, it secured Future his first Top 20 hit.

The song — which features Metro’s signature bass and a screeching raven sound effect — also saw a streaming boost after an Apple Music commercial featuring Taylor Swift rapping to the song. According to Adweek, the campaign helped generate a 431 percent increase in global sales

What makes "Jumpman" even more special is that a collab between Future, Metro, and Drake may never happen again. Reportedly, the duo is at odds with Drake because the OVO artist decided to link with 21 Savage on Her Loss instead of doing a follow-up project with Future.

"Father Stretch My Hands Pt. 1" (2016)

"Father Stretch My Hands Pt. 1" is the song that set Kanye West’s album, Life of Pablo, ablaze. Opening with a clip of gospel musician and singer T.L. Barrett’s Father I Stretch My Hands,” Metro’s signature producer tag kicks the record into full gear. The pulsating synthesizers and bouncy percussion match West’s raunchy and sexually explicit lyrics.

Metro’s production received significant praise, with several publications pointing to his contributions on end-of-year listings. And in the eight years since its release, "Father Stretch My Hands Pt. 1" has been certified six times platinum by the Recording Industry Association of America, making it one of Ye’s most-sold records of all time.

"Congratulations" (2016)

After the success of "White Iverson," a young Post Malone was on the hunt for the hottest producers in the rap game. He managed to land Metro, who worked with fellow producers Frank Dukes and the prolific Louis Bell on the triumphant trap record "Congratulations."

On a 2022 episode of the podcast "Full Send," Metro revealed that the celebratory song was made after watching the world’s greatest athletes eclipse historic feats of their own. "I remember the Olympics was on TV, and just how the music was sounding, it sounded like some champion s—," he said.

"Congratulations" marked Post Malone’s second Top 20 hit following his debut, "White Iverson." The song was certified diamond after totaling more than 11 million combined sales. Today, it remains one of Metro’s biggest achievements.

"Bad and Boujee" (2017)

Fueled by virality and a shoutout from Donald Glover at the 2017 Golden Globes, the Migos and Lil Uzi Vert’s "Bad and Boujee" landed Metro Boomin his first No. 1 Billboard hit as a producer.

The song has every element Metro fans have grown to love: moody keys, hard-hitting bass, and plenty of room for the artists’ adlibs to pierce through the track.

Two months before its eventual ascension, the song had a steep hill to climb atop the Billboard charts. But Metro’s production and the chemistry between Quavo, Offset, and Uzi helped the record shoot up to its rightful place. It continues to garner praise In the years since its 2016 release, too. It was ranked No. 451 on Rolling Stone’s "500 Greatest Songs of All Time" list

"Mask Off" (2017)

When "Mask Off" dropped in 2017, it scorched the Billboard charts. Hip-hop was flirting with flutes (as heard on songs like Drake’s "Portland" and Kodak Black’s "Tunnel Vision" — another Metro-produced beat) — but "Mask Off" stands out as the biggest song of the short-lived era.

Metro infused jazz-like undertones to perfectly meld the flute lick into the dark and mystic beat. The record led to the remix with Kendrick Lamar, with his verse breathing new life into the already-seismic hit. It’s now certified nine times platinum.

Years after the song’s release, Future said "Mask Off" initially put radio programmers in disarray. In his East Atlanta rapper’s Apple Music documentary The WIZRD, he revealed that the song dropped before Carlton WIlliams’ "Prison Song" sample was officially cleared. "Out of all the songs, ‘Mask Off’ wasn’t even legit," he said. "The s— was on the radio, they’re thinking it’s not a sample, but it got so big they were like, ‘It’s a sample.’"

"Heartless" (2019)

The Weeknd's "Heartless" is a pop and electro-clash classic that fires on all cylinders. The visuals are atmospheric, the lyrics are ultra-stimulating, and the production — partly handled by Metro — makes for a lasting club banger.

The leading single for The Weeknd’s fourth studio album, After Hours, topped the Billboard charts. It marked the Toronto-born crooner’s fourth No. 1 hit and unveiled the depths of Metro’s musical arsenal.

Metro produced four tracks on After Hours: "Faith," "Escape from L.A.," "Until I Bleed Out" and "Heartless." On the latter and in his other collaborations with The Weeknd, James Blake, and Solange, Metro’s creative sorcery was tested. He proved, once again, that he could generate a hit outside the confines of trap music.

"Creepin’" (2022)

After a solid outing on his first album Not All Heroes Wear Capes, Metro returned with another series of hard-hitting records. His second solo venture, Heroes & Villains, featured John Legend, Don Tolliver, Travis Scott, and other premiere artists. But the biggest song to come out of the star-studded lineup was "Creepin’" featuring 21 Savage and The Weeknd.

The only single to Metro’s second solo album struck sonic gold. The Weeknd’s flowy vocals overlay the silky and harmonic record, which transitions to a more trap-induced beat once 21 Savage’s verse kicks in. The remake of Mario Winans’ "I Don’t Wanna Know" was a notable departure from Metro’s past singles, which heavily lean on his trap roots. But it still managed to connect with his audience – and even beyond it. "Creepin" peaked at No. 3 on Billboard, which was Metro’s highest-charting solo record up until that point.

Spider-Man: Across The Spider-Verse (2023)

Following the success of "Creepin’" and his other smash singles, Metro extended his creative powers to the film world. He was given the green light to executive produce the soundtrack for Sony’s Spider-Man: Across the Spider-Verse.

Metro Boomin told Indie Wire that he crafted songs from rough animations and selected scenes "just to get in the world and the story of Miles [Morales] and what he’s going through," He even exchanged phone calls and texts with the film’s composer Daniel Pemberton to ensure the soundtrack and score were on the same accord.

From the classical serenade "Am I Dreaming" to the Latin swing of "Silk & Cologne" and the Timbaland-stomping "Nas Morales," the result was an equally transformative musical experience. Each record ranged in musicality and tone while beautifully complementing the vibrant animated superhero flick.

"Like That" (2024)

"Like That" is easily one of the best beats in Metro’s catalog, and may end up being one of the most memorable. Samples from Rodney O & Joe Cooley’s "Everlasting Bass" and Eazy-E’s 1989 classic "Eazy-Duz-It" shaped the bouncy trap beat, sinister synths, and spine-chilling baseline. But Kendrick Lamar’s verse turned it into a heat-seeking missile.

With the song’s thunderous bass and rapid hi-hats in the background, Kendrick dissed J. Cole and Drake for their recent claims of rap supremacy, particularly on 2023’s "First Person Shooter." The lyrical nuke sparked the Civil War-style rap feud, which led to a seven-song exchange between Kendrick and Drake.

The initial musical blow made the genre stand still. It also led to the massive success of the record, which notched Future and Metro another No. 1 hit song. It also helped the pair’s album, We Don’t Trust You, claim the top spot on the Billboard 200 albums chart.

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer