The Grammys always seem to get it wrong. Every year, they ignore Black artists’ cross-cultural impact and appeal, continually relegating them to genre-specific categories.
This year is no different as Jazmine Sullivan’s Heaux Tales wasn’t nominated for Record and Album of the Year. Wizkid’s smash hit “Essence” was omitted from Song of the Year, which speaks to broader neglect for Black international artists.
Best Rap Album is personally the most frustrating category. The nominations often reflect an artist’s popularity, without consideration for their output. My favorite albums weren’t from festival headliners or household names but were often artists thriving in raps underground both here and abroad.
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Enny: Under 25
The Grammy’s most damning omission may be having only male nominees, ignoring the growing influence of women rappers. Little Simz’s Sometimes I Might Be Introvert is widely believed to be the biggest snub, but my selection is another British rapper.
Under 25, the debut EP by Enny is easy to miss. Enny differs from other South London artists, whose drill sound has influenced New York artists like Pop Smoke and Fivio Foreign. Enny uses her narrative-heavy artistry to rap about social and political topics. “Same Old” is a powerful track that showcases her confidence as she raps about the impact of gentrification.
Under 25 shines because Enny never finds comfort in a single sound for too long. “I Want” is an upbeat track that creatively blends House and Afrobeats. Her willingness to experiment keeps things fresh. Under 25 is a promising start in Enny’s young career, and her latest single, “Bernie Mac”, indicates the best is yet to come.
Mach-Hommy: Pray for Haiti
Pray for Haiti features layered storytelling that rivals To Pimp a Butterfly. Mach-Hommy balances the beauty of the Haitian diaspora with the ignored history that has kept the country in uncertainty for centuries.
Lyrically, Mach-Hommy is relentless. His verse on “Folie A Deux” features a never-ending combination of vivid imagery, clever wordplay, and humor reminiscent of the late MF Doom.
Mach-Hommy shines through nuance, mastering little moments and references that connect us with history and culture. Pray for Haiti’s brilliance rests in its individuality, making it arguably the best album in recent memory.
MIKE: Disco!
The Bronx-based rapper has grown his fan base through a style centered on emotional awareness. His 2020 project, Weight of the World, blends unorthodox production with the pain of losing his mother. We listen as MIKE questions his faith and how to move through the world without the woman who instilled it in him.
Disco! is an equally enticing album that finds MIKE with the same thoughtfulness. He still thinks about his mother but channels her for more than just grief. “Airdrop” is a creative track about love and longing that displays MIKE’s lyrical prowess outside of emotionally heavy topics. Yet, MIKE still delivers bars that steer you towards something great. “Cause only death will show you how to live, right?” he says calmly on “Leaders of Tomorrow.”
Amid tragedy, MIKE’s focus and calm demeanor stand out. “Disco!” balances keeping the memory of his mother present while not letting her passing define him.
Isaiah Rashad: The House Is Burning
In 2016, Isaiah Rashad appeared destined for stardom. His second album, The Sun’s Tirade, was a breakthrough project that focused on the emotional toll of substance abuse. One moment, Rashad has beaten his demons, only to unravel in isolation and self-doubt.
Five years later and his reappearance isn’t without its struggles. The Chattanooga rapper continued to battle addiction, eventually seeking help in a rehab facility. The treatment benefited him personally and gives him vibrant energy on his latest album, The House is Burning.
The House Is Burning is a reminder of the diversity of Southern rap. Tennessee has a rich rap history that differs from Atlanta, which has dominated the last decade of the genre. Rashad’s style is similar to fellow Chattanooga rapper bbymutha, whose artistry relies heavily on tone and timing. On “THIB”, he leans into his accent by altering the phonetics and constantly changes his pace of delivery effortlessly. After nearly losing his record deal, Rashad delivers his best project yet by celebrating himself and what he’s overcome.
